Einstein's Monsters - Martin Amis (1987)

 

Rating: Admirable

Martin Amis is not known for his short stories, with only two collections published in his lifetime, Einstein's Monsters and Heavy Water and Other Stories (1998), among some later omnibus publications of collected stories which included the two volumes and some other strays. Einstein’s Monsters was apparently put together when Amis realised that the short stories he had been writing were centred around the theme of nuclear weapons. Einstein's Monsters begins with an essay called Thinkability, in which Amis outlines the true horror of the threat of nuclear weapons and the annihilation they could potentially unleash. It makes for harrowing reading and despite being written and published during the height of the Cold War, the essay is still chillingly relevant. Amis bemoans the terrible irony of the need for nuclear weapons because of the existence of those very same nuclear weapons. After this short essay the first story, Bujak and the Strong force, Or God’s Dice, provides a very decent beginning, with a Polish protagonist whose strength is such that it metaphorically mirrors the strong nuclear force. It brings him a great deal of trouble, of course, and things don’t go well for his loved ones because of it. It’s a fine, if flawed tale. Insight at Flame Lake uses contrasting diary entries to tell the story of the impact of a schizophrenic boy on his host family. The boy’s father had worked with nuclear weapons before committing suicide. Ultimately it’s a rather heavy-handed allegory for the travails of having nuclear weapons around.

Martin Amis, contemplating Einstein's Monsters

The Time Disease is entertaining but doesn’t quite suit being shoehorned into a collection of nuclear themed stories. It’s futuristic in nature, featuring people who are terrified of time and its deleterious effects on aging, in this case they are aging in reverse. As with all of these stories it features enough of that trademark Amis erudite flair and biting wit to make it worth reading. The actual writing is quite brilliant, but the overall effect is diminished by the shape of the plot. The Little Puppy That Could continues in this fashion. Set in a post nuclear apocalyptic future, things are so bad that a huge, deformed malevolent dog is menacing the ill and deformed residents of a dilapidated village. Their ploy is to offer up weekly sacrifices. Meanwhile a little puppy (who doesn’t appear to be normal himself) with great persistence worms his way into the heart of a little girl. Most of the villagers are scared of the poor little puppy, due to the giant deformed canine that menaces them on a weekly basis. It’s a bit long and grotesque, but does create a nice amount of tension, particularly in the last third of the story. The story has classical mythological allusions within its twisted narrative, but it doesn’t provoke enough motivation to do the research to understand them, at least in my case. The final story, The Immortals, is one of the finer to be found within this slender collection. It recounts the life of an immortal as he traverses the gulfs of time that encompass the history of the planet. There are some great lines, included references to decades long recreational habits and how various epochs compared in terms of boredom and danger. Turns out that ultimately the future involves the imposition of nuclear warfare and the last of humanity in New Zealand who dream that they are indeed immortal. It’s clever all right, but other than its often-brilliant prose it doesn't work quite as well as you want it to. Based on Einstein’s Monster’s, Amis wasn’t really a natural short story writer and it is probably not a coincidence that he didn’t produce many throughout his otherwise brilliant career. This collection is vaguely disappointing, but even acknowledged geniuses have lapses and in the scheme of things these stories are still worth reading just to bask in the glory of Amis’s brilliant prose style.

Show Don't Tell - Curtis Sittenfeld (2025)

 

Rating: Admirable

Curtis Sittenfeld has a great reputation for her dark wit, sardonic humour and putting a contemporary spin on old problems, such as the war of the sexes, power imbalances and complex moral situations. My prior experience with Sittenfeld was via Rodham (2020), a clever and entertaining alternate history of the life of Hilary Rodham, if she had not married Bill Clinton. Show Don’t Tell is a collection of short stories and typically for such collections some stories are better than others. Beginning with the better material, the eponymous story starts off the collection, following a young student, Ruthy, who is awaiting news about the annual grants awarded to creative writing students, referred to as the 'Peaslee’s'. It features a middle-aged student, a smoker, who is a general annoyance to Ruthy, a visiting Bukowski type of writer who dispenses writerly wisdom, a White Noise (Don DeLillo, 1985) namecheck and other various descriptions of college life (this is set in America). It’s a fine story about not being too precious and checking your privilege, which is a common theme throughout the collection. The Marriage Clock involves a buttoned-up Christian author of a best-selling marriage guide and a studio rep who can’t help but desire him, but in doing so reveals that his marriage is far from ideal; ultimately it’s quite clever and well written. A For Alone deals with a married conceptual artist who undertakes a project that involves testing the infamous 'Mike Pence rule', that posits that married men should not be alone with single woman. Of course it goes pair-shaped in the most entertaining manner possible. The Hug is my favourite and perhaps the best story here; a couple, Daphne and Rob, argue about whether Daphne can hug a former partner who is travelling through town and wants to meet up. Not only is it in the midst of the pandemic, but it’s also her ex, and Rob doesn’t like it. The ending is deftly handled - poignant, telling and relatable.

The stories in Show Don’t Tell that don’t quite work as well continue the major unifying theme of age-old problems set within modern moral conundrums, such as cancel-culture, the ‘Karen’ phenomenon, our love/hate relationships with corporations, generational change and being called out for privileged behaviour, but without quite the same amount of finesse featured in the ones mentioned above. As with many of the stories, most of the principal protagonists are middle-aged women, or younger women facing the challenges of being young in a complex world. White Women LOL doesn’t quite gel due to its convoluted nature. Creative Differences is better, with a photographer taking a moral stand regarding being featured in an advertisement masquerading as an art project. The Tomorrow Box explores the nature of success, how it can’t always make up for other shortcomings, like acceptance and success with the opposite sex. The Richest Babysitter in the World explores similar ground but is a bit predictable in its denouement. The Patron Saint of Middle Age and Giraffe and Flamingo are both flawed but ultimately admirable stories, exploring white privilege (the former) and bullying (the latter), with varying degree of success. The final story, Lost But Not Forgotten, features a character from Sittenfeld’s first novel – Prep (2005), Lee Fiora, who is now older and attending a school reunion at the school from the novel. Fiora thinks back to a past secret experience whilst forging a new relationship with a former student. It’s interesting and entertaining enough, but, once again, doesn’t quite hit the mark like the superior stories in this collection do. No doubt it would come across better if you’ve read the novel. Sittenfeld is a class writer however, and this collection is a fine example of her snappy and insightful style. It was another book club read and as always with short story collections, it received mixed reviews. However it is worth a read for its insights into our complex moral world and array of middle-aged characters in confused free-fall. 

Our Man in Havana - Graham Greene (1958)

 

Rating: Excellent

Graham Greene was a prolific writer, with many significant novels to his name, such as Brighton Rock (1938), The Quiet American (1955) and the screenplay to The Third Man (1949), a brilliant film that has aged extremely well. Greene also gets a pivotal reference in one of my favourite films, Donny Darko (2001), when a Greene novel that is censored by the high school gives Donny gnostic guidance. Due to his significant cultural presence and the fact that Greene is considered one of the finest novelists of the twentieth century, I've long known about him, but I had never managed to get around to reading his work. Apparently (according to Wikipedia) Greene divided his works into two genres, thrillers, which he referred to as 'entertainments' and the others as 'literary works'. I'm uncertain as how Our Man in Havana should be regarded, being a black comedy of sorts with a light humorous tone; ostensibly it's not a thriller, but I have a feeling that Greene perhaps regarded it as one of his 'entertainments'. The novel is genuinely funny, following the adventures of vacuum cleaner salesman, James Wormold, a world weary man who's wife left him to be the sole parent of his teenage daughter, Milly, who has a extravagant lifestyle to maintain. When Wormold is approached by the mysterious MI6 plant, Hawthorne, to spy for MI6 he reluctantly takes up the offer in order to help cover the cost of his daughter's many worldly desires. There begins a series of tricky situations, faked reports and run-ins with shady characters who threaten his life. Greene himself actually was recruited into the MI6 in 1941, where he encountered information about a character call Garbo, who was based in Portugal and filed fictitious reports in order to gain bonuses and keep his espionage career going. 

Greene, contemplating his 'entertainments'

Published four years before the Cuban Missile Crisis, which took the world to the brink of nuclear war, the novel is eerily prescient. Wormold uses the fittings from one of the vacuum cleaners he sells as inspiration for faked drawings of military structures in the mountainous areas of Cuba, and of course MI6 are very concerned. Wormold nominates a range of informants, some of whom he knows of, but does not know in person. Reality and falsehood collide when weird things start to happen to his informants, leading to some very tricky situations indeed. There's some romance too, when love interest Beatrice Severn is sent from MI6 to assist Wormold. There's also the comedic, yet pathetic character of Dr. Hasselbacher, an elderly German expat who is Wormold's only real friend in Havana. He also has to deal with the sinister threat of Captain Segura, a military thug and the owner of a wallet supposedly made from human skin, who has romantic designs on Milly. Such characters, on paper, could seem like caricatures, however Greene really brings them alive and imbues them with complex motives and human foibles. Greene's prose is concise and snappy, providing a propulsive edge to the narrative. It's a clever and classy novel and one gets the sense that, well, they just don't write them like this any more. If Our Man in Havana is typical of Greene's oeuvre then I'm keen to explore further novels. Greene was certainly prolific, with some 26 novels, numerous short stories, plays and screenplays published. Our Man in Havana was also adapted for a movie in 1959, starring Alec Guinness and Noel Coward and was critically acclaimed at the time, although hasn't had the same afterlife as The Third Man, but if it is any where near as fine as the novel it would be worth watching.

Our Evenings - Alan Hollinghurst (2024)

 

Rating: Excellent

Another book club read, the second by Alan Hollinghurst, with the first being The Stranger's Child (2011), which was the follow-up to the Man Booker Prize winner, The Line of Beauty (2004). I enjoyed Our Evenings a great deal more than The Stranger's Child, which, looking back at my review, I ultimately found 'turgid'. Our Evenings is character driven, told via the first person point of view of David Win, beginning when he is a fourteen-year old student at one of England's well to do private schools; he is also the beneficiary of financial support from Mark Hadlow, the philanthropist plutocrat patriarch, who's son, Giles Hadlow, is Win's frenemy and a future political force in the UK. Win is an outsider, is of mixed race (part Burmese), from a single parent family (his mother, Arvil, has her own significant role in the novel) and is gay. Despite Win's outsider status he thrives at school, at university (Oxford) and despite some setbacks, goes on to become a successful actor. Our Evenings is the story of his life and the story of the changing attitude to homosexual relationships over the decades, as well as the rise of a new era of intolerance as personified by Giles Hadlow, who goes on to be a right-wing Tory politician who campaigns to remove the UK from the European Union (Brexit). There's some serious themes at play, both personal and universal, but the novel proceeds at a languid pace as we follow the episodic narrative of David Win's life, rather than ratcheting up the tension. At first the novel appears too passively reflective, however as Win grows up and faces the challenges of adulthood the narrative becomes absorbing and fascinating. It draws you into Win's world of theatre, love and friendship, all narrated via his wry observational voice.

One of the strengths of Our Evenings is Hollinghurst's elegant style, there are plentiful beautiful passages throughout. The novel rewards close reading, revealing a narrative dense with sophisticated descriptive power. I rarely quote from books, but I just have to share my favourite passage in which Win is enduring a speech from Giles Hadlow: "I blanked out what he said, tipped my head back and gazed up at the great glass dome. Beyond it, in slow transition of dusk, silver planes could be seen escaping, bright in the last sun above the darkening city." It's so evocative and beautiful, but also it shows a character in opposition to the mainstream attitudes as personified by Hadlow, of conservative righteousness and philistinism. This opposition between Win and Hadlow's lives, and what it represents, is not laboured by Hollinghurst, but it is palpably felt throughout the novel, even during lengthy periods in which Hadlow is absent, but not forgotten. Our Evenings is both a very personal exploration of what it meant to be gay and an artist in the era since the middle of last century and an exploration of where we've ended up politically and culturally. It's subtle, clever and close to brilliant. In the great novelistic tradition of showing, but not telling, Hollinghurst sums up the era of the likes of Trump and Boris Johnson (whom Hadlow mostly resembles) with a great scene in which Hadlow, now the Minister for the Arts, leaves early during a performance involving Win in a helicopter, which completely drowns out the performance in a show of ugly egotistical distain. Although some readers may find the novel's slow pace and character driven narrative too much of a slog, Our Evenings really is worth the time and stands as a beautiful, topical and touching literary work.

Dark Magus: The Jekyll and Hyde Life of Miles Davis - Gregory Davis and Les Sussman (2006)

Rating: Mediocre

I absolutely love jazz, but I'm the first to admit that it is not for everyone. I've always advised the jazz novice to begin with Miles Davis, due to the fact that he both excelled at and helped create so many types of jazz that he offers something for everyone. It's just a matter of finding a way in, but if you want to read something to help you try and understand Mile Davis, then unfortunately Dark Magus is not that book. I found my copy in a pretty cool op-shop in Melbourne, it has a great cover and when I opened it the couple of paragraphs I read convinced me to spend all of five dollars to gain access to a family member's thoughts about the great man himself. Gregory Davis is Miles Davis's oldest son and as such he spent a great deal of time with him as his PA, bodyguard and general dogsbody. In the introduction Gregory promises "...not just another chronicle of his life and career..." and also that there are "...no sour grapes to this book..." He then proceeds to give a fairly chronological account of Miles family, his childhood and early years developing his jazz career. To be fair it does contain quite a bit of information that only a close family member would know, which is mostly interesting. As for the sour grapes, well, Gregory does go on to talk about being cut of the will (which is rightly something to be upset about), so I'll give him the benefit of the doubt there. Apart from the first six chapters, which covers Miles early years, most of the book does jump around in time and features chapters named after either albums or songs, such as Quiet Nights and Miles Ahead. Miles Davis had a career that was so multifaceted, influential and successful you'd think there would be no end of amazing anecdotes and obscure facts to bring to light. Well, they are there, but are buried within repetitious accounts of Miles moods, his impulsiveness, his women, his drugs and his apparent Jekyll and Hyde duel nature.

Miles Davis, contemplating his moodiness.

I can’t help but feel that Dark Magus is marred by Gregory Davis’s inherent closeness to his subject. It's not a book about Miles the music-maker, rather it is about Miles the moody patriarch. What is missing is some kind of insight into his music-making impulses. Miles seemed to be able to make the intangible tangible in his music, channelling something authentic from within to create some incredible music, perhaps the greatest in jazz, period. Another problem is that there’s not much in the way of revealing insights into his relationships with key musical colleagues, there’s Charlie Parker and Dizzy Gillespie early on and Clark Terry (Bebop trumpeter) writes the foreword, but what about the likes of Wayne Shorter, Joe Zawinul and Herbie Hancock? Possibly Gregory was not privy to such musical relationships, despite being his eldest son (born in 1945), PA, bodyguard, whilst living with Miles on and off for years. It’s a shame, but I would not recommend Dark Magus to anyone interested in his music. It’s as much Gregory’s story as it is Miles, and that’s fair enough, but Dark Magus seems like a wasted opportunity. Also the quality of writing in Dark Magus is subpar at best and could have done with some judicious editing to improve the constant repetition and the banal style. For insights into Miles Davis the man, it's best to look elsewhere, such as Miles Davis: The Definitive Biography, by Ian Carr (1999), which I read in the era before I started writing this blog. Or perhaps Miles: The Autobiography, with Quincey Troupe (1990), which I haven't read, but Miles apparently over-uses the word 'motherfucker' a great deal, which sounds promising to me! 

The Granddaughter - Bernhard Schlink (2024)

 

Rating: Admirable

Bernhard Schlink’s renown outside of Germany is based mostly on The Reader (1995), which is considered to be one of the greatest Holocaust narratives, exploring the struggle for the German people to confront the sins of Nazi Germany. The Granddaughter is a reunification novel, exploring the wider impact of German reunification (1989-90) within the microcosm of two family units, one, a couple living in West Germany and the other who live in a Neo-Nazi community in East Germany. The novel begins in contemporary times with the death of Birgit, an elderly East German who fled the communist East Berlin enclave to be with Kaspar, who had got to know her when visiting East Berlin in the mid 1960’s. Kaspar must not only contend with his wife’s tragic death, but also the private life she kept hidden from him for decades; something that is revealed once he gains access to her unfinished novel and journals. Kaspar is shocked to discover that she had abandoned a baby before she joined Kasper in the West. Kaspar’s subsequent search for his step-granddaughter leads him into the heartland of Neo-Nazi society and allows Schlink a narrative vehicle to explore the divide that lies at the heart of German society, stemming from WWII, the Cold War era and reunification.

Told via simple, yet powerful prose, Schlink focusses mainly on the impact that reunification had on his characters. Kaspar, a native West German, finds his rather naïve and idealistic notions about reunification are challenged by his late wife’s secret struggles and his interactions with his step-granddaughter, Sigrun, who has been indoctrinated with Nazi ideology, which includes an outrageous rewriting of German history. It’s mostly fascinating stuff and makes for perfect book club fodder, with weighty themes that are both historical and contemporary. Obviously Schlink’s aim is to raise awareness of the origins of the rise of the right in Germany. He takes a measured approach, the neo-Nazi characters are not painted as one dimensional right-wing nutjobs, rather their point of view is explored with a degree of humanity, although ultimately their world view is rightly rendered incompatible with objective reality. At times there is a problem with pacing, after a slow first third, in which Kaspar reads a long section of his wife’s writing, therefore revealing their back-story, the rest of the novel is dotted with abrupt decisions and some improbable plot devices (huge loans taken out by a 70-year-old bookseller and a minor’s sudden access to an official means of escape). I don’t normally worry too much about realism in novels, but within a novel of serious themes such oversights stood out, although it is still a minor quibble. Ultimately The Granddaughter is an important novel for our times; and, as previously mentioned, a perfect novel for book club discussion, recommended for all those book clubs out there embarking on their endless search for a decent read.

Money: A Suicide Note - Martin Amis (1984)

 

Rating: Sublime

Money is acknowledged as the beginning of a run of brilliant Amis novels that represents his imperial period, that continued with London Fields (1989), the booker Prize shortlisted Time's Arrow (1991) and ending with The Information in 1995. Narrated in first person by main protagonist John Self, the novel follows his trashy, decadent life as he moves back and forth between London and New York while attempting to get a film project off the ground based on an idea drawn from his own life. Money was inspired by Amis' involvement with the screenplay for a stinker of a film called Saturn 3 (1980), starring Kirk Douglas and Farrah Fawcett, which I actually managed to watch last year; it's a truly terrible, yet fascinating folly. One of the characters in Money is based on Kirk Douglas, the fantastically named Lorne Guyland, who is a total prima donna, fretting about getting enough sex scenes with the young leading lady and often ending up naked whilst having long rambling narcissistic conversations with Self. Everything around the supposed film, variously called 'Good Money', then 'Bad Money', is satirically brilliant, from the exorbitant excesses undertaken by Self and his partner Fielding Goodney in the name of tax breaks on expenses, to the actors themselves, including Spunk Davis (who is outraged when he finds out what his surname means in England), Caduta Massi and Butch Beausoleil, two leading ladies with their own neurotic impulses. Of course Amis takes things much further by inserting himself into the novel, not just once, but many times, and as a writer for hire no less, a fixer for the screenplay that Self is distinctly unhappy with. There's even some discussion from Amis (the character) about the nature of the relationship between author and protagonist which is just brilliant. It's the best example of author as character I've ever read. Apparently Kingsley Amis threw his copy of the book across the room, never to be read again, when he reached the part that includes Martin, talk about generational envy.

Amis, contemplating the nature of the self

John Self (who is based on John Barry, the director of Saturn 3) is one of the great anti-hero protagonists, a total hedonistic slob who careers throughout the novel consuming vast amounts of alcohol, drugs, fast food and porn, whilst coming onto any and all women in his vicinity. Amis described Money as a voice novel, rather than a plot driven narrative. Fortunately Self is such a vivid and charismatic character that you can't help but get swept up into his world of dubious logic and decadent self-sabotage. Self's narration of his follies and adventures is unrelentingly hilarious and tragic. It is a difficult thing to write a funny novel, but Money is the funniest I've ever read. It is undoubtably a masterpiece of literary comedy. Money is also exceedingly clever, not just for its biting satirical themes around the film industry, wealth and class, but also for the above mentioned post-modern metafictional techniques. The keys to unlock the novel's multi-layered narrative is the game of tennis played between Goodney and Self in the first third of the novel (Self is literally being played) and the game of chess toward the end between Amis and Self, in which Self thinks that he is winning, before he's brutally taken down by Amis. The relationship between author and protagonist is revealed for what it is, sinister manipulation. The epilogue, printed in italics, appears to be Self free from authorial manipulation, his own 'self', down and out, but with a new found freedom. Essentially Money is a must read novel, a work of genius, with mercilessly satirical prose and irrepressible humour. It certainly was a huge step up from the otherwise excellent Other People (1981) which proceeded Money. Martin Amis, despite John Self's poor opinion of his work and lifestyle, was definitely a genius level novelist. 

Leviathan - Paul Auster (1992)

 

Rating: Excellent

I'd long wanted to read a Paul Auster novel, having seen his books on shelves for many years, without really knowing that much about him, other than he seemed to be a typical 'New York' writer. That phrase could be taken as a compliment, or a put down, in Autser's case it's definitely a compliment, as Leviathan is a cut above the typical narratives about kooky New Yorkers getting into scrapes. The critical opinion of Auster is that he was a significant post-modern author, using multilayered narratives, and typically exploring themes of identity, chance, the nature of truth and identity. His childhood directly influenced his writing, having witnessed a lightening strike that killed a teenager while they were on a school camp, Auster became obsessed with the role of chance in life. Leviathan explores chance through the lives of various characters, most notably the friends, Peter Aaron and Benjamin Sachs, who are both writers (Auster's protagonists are typically writers apparently). Chance events and chance meetings with other characters drives Sachs to take some radical directions in his life, all told from the perspective of the narrator, his friend Aaron. Sachs struggles with self-worth and the nature of purpose, and being a novelist ends up being viewed by him as a trite manner in which to engage with the world, instead Sachs takes a more radical path. Sachs' journey is compelling, maddening and, ultimately, tragic. 

Auster, contemplating the nature of chance

Auster's writing is dense, layered and full of tension and mystery, which makes for compelling reading. This novel really gets under your skin, you begin to live it. The unravelling of the mystery of just how Sachs ends up at the point of his ultimate fate is engaging and fascinating. Auster could really write believable and complex characters, including the female characters, such as Sachs wife, Fanny, who is also a romantic interest for Aaron. Another brilliant female character is Maria Turner, a photographer who is based on French conceptual artist, Sophie Calle. Turner is the fulcrum around which the other characters move through the complex plot, in particular Sachs, who is strongly influenced by Turner's experiments with art, chance and lifestyle. Aaron's narrative voice draws in the reader, like a story-teller around a camp fire, you want to stay with him and be pulled further into the story (or even the fire). The plotting is circular in nature, with Sachs' fate revealed at the beginning, and the path that led him there is then fleshed out by Aaron's musings and investigations. It's like a detective story with political and cultural leanings, piecing together fragments of the complex life of Sachs and his search for meaning within the context of America and its place in the world. The novel's title is a direct reference to Thomas Hobbes exploration of society and the nature of government, Leviathan (1651); some familiarity with its themes would help decipher Auster's Leviathan, although it's not essential. Appropriately the novel begins with a dedication to DonDello, one of the twentieth century's greatest writers, who is also another 'New York' writer who transcends that label. Auster and DeLillo were friends, but on the evidence of this novel, they were certainly also equals. It's such a pity that Auster passed away in 2024, but at least there's his rich body of work, of which I'll be reading more of in the coming years, and so should you.

Childhood's End - Arthur C. Clarke (1953)

 

Rating: Excellent

It's been some twenty five years since I last read Arthur C. Clarke's work. As a teenager and beyond I must have read at least a dozen of his novels, but I never got around to reading Childhood's End. Somehow I even missed out on encountering any hint regarding its plot or themes, and for that I am grateful. It has long been regarded as a true science fiction masterpiece, despite many of its tropes becoming science fiction cliches in the ensuing decades. Essentially an alien invasion narrative, Childhood's End begins with the space race, but not that one, instead it begins with an opening chapter that Clarke rewrote in 1990, replacing a competitive cold war race to land on the moon, with a united effort to reach Mars in the twenty-first century; until it is interrupted by the arrival of massive alien spacecraft that hover over the major cities of the world. Sounds familiar? Such a scenario has been played out countless times, particularly in the TV series V (1983, 1984-85) and the godawful movie, Independence Day (1996). Fortunately Clarke's approach is far more subtle, intelligent, philosophical and powerful. The aliens remain hidden for the first third of the novel, instead they direct humanity from behind the scenes into a utopian age in which all suffering ceases and world peace endures. I'd forgotten just how good Clarke's writing was, he was certainly stylistically sound, but more significantly he really knew how to build suspense and create an expectation that the secrets that are bubbling away under the surface would be worth the wait. This is exactly how it played out for me, not knowing the true nature of the aliens, dubbed the 'Overlords' by humanity, the reveal that arrives a third of the way through the novel was impactful and satisfying. 

Arthur C. Clarke - master of suspense

Childhood's End contains themes that Clarke would explore later in his career, but here the notion of a transcendent higher power comes with definite uncertainty as to just how benevolent it really is, unlike 2001: A Space Odyssey (1968), in which there seems to be a no stings attached evolutionary assist from higher powers. The Overlords themselves appear consistently benevolent throughout, however Clarke gives subtle hints as to what is really going on throughout the novel. When an Overlord known as Rashaverak attends a party at the residence of a man called Rupert Boyce and is found to be perusing his large collection of books on the paranormal, you can't help but be intrigued as to what is really going on. Clarke takes his time to let the reader in on the secret, something some modern readers can get impatient about, perhaps confirmed by some of the comments on Goodreads, with a couple of readers remarking that the novel is "tedious to get through". Actually the novel is perfectly paced, with the reveals regarding the Overlord's planet of origin, their ultimate role in Earth's fate and the nature of that fate itself, coming as well timed rewards for a little bit of patience. Childhood's End is an almost perfect science fiction novel and is rightly regarded as Clarke's best, it was also the moment when Clarke broke through as a novelist, both critically and commercially. On completion I was left with feelings of both wonder, and a nameless dread. Despite the unscientific paranormal elements Clarke utilises in the novel, the hard science aspects are sound, and given what we now know about the nature of the universe (that most of what is going on in the cosmos is a total mystery), the notion that we could at some stage be ultimately confronted by the shocking truth of the true nature of existence is not beyond the realms of possibility. 

Stoner - John Williams (1965)

 

Rating: Sublime

Stoner is not the greatest novel ever written, but it is known as the most perfect novel ever written. Williams was an academic and writer who lived a flawed life, published four novels in his lifetime, before dying relatively unknown in 1994. Aside from a few glowing reviews in 1965, Stoner was mostly ignored until the 2000s, when it was republished multiple times. When it was subsequently translated into French it started to sell prolifically in Europe and then became highly regarded by critics, numerous writers and lovers of literary fiction. Set between the early 1900's and the 1950's, it tells the story of a life, that of William Stoner, the son of simple farmers who send him to university to study the latest agricultural techniques in order to take over the farm and make it profitable. Instead Stoner falls in love with English Literature whilst doing a compulsory literature unit. He subsequently begins a lifetime of studying and teaching the subject at the University of Missouri. Stoner is a quiet, shy and thoughtful individual, who finds his place in the world within the confines of university life. It is one of the great university novels, but ultimately it is a novel about stoicism, within work-life and home-life. Stoner marries Edith Bostwick, and immediately it is an unhappy union. Within their marriage Williams explores human psychology at its deepest levels without once examining why the characters behave in the way that they do; Edith is damaged by her parents and she suffers from what looks like post-natal depression, however these are just things that Stoner endures with grim determination. Stoner suffers through poisonous rivalry from the likes of fellow academic, Hollis Lomax, a bitter and cynical cripple who becomes determined to undermine Stoner until the bitter end. Stoner's relationship with his daughter is ruined by Edith and his only chance at romantic happiness is destroyed by convention and the scheming of Lomax. 

So, why is Stoner the perfect novel? Firstly, I must point out that, although the notion of a perfect novel is somewhat problematic, Stoner really is the perfect novel, in my experience at least. Williams' prose is faultless, wasting not a word, a scene or a piece of dialogue, as he tells Stoner's story of sad stoicism. The prose is often exquisitely beautiful, particularly when Stoner is musing over his life, walking the university grounds, or simply sitting at his desk, looking out the window into the somber snow-covered landscape. There are moments of mystical insight and emotional clarity that are almost Zen-like in their poise. All of the characters are totally alive, fully formed and real within the minds eye. The reader can't help but be intensely emotionally involved, as if you are living along-side Stoner, Edith and Katherine Driscoll, Stoner's romantic interest. Stoner's life proceeds in a liner narrative, with no experimental fragmenting of time or perspective, and it is all the more fresher for it, in particular after the dominance of fragmented fiction in the twenty-first century. Despite Stoner's sad and difficult life his story really is beautiful and uplifting, one cannot help but be touched by his struggles and his determination. The end is just as tragic as you'd imagine, however he discovers a deep existential satisfaction to his life, and in this sense Stoner can be seen as an existential novel. Stoner does not go to church, does not turn to God to help in his moments of need, instead he finds meaning in his love of teaching and within the beauty of literature. It's a story for us all, a universal thematic examination of what it means to live a life and to be satisfied in the end despite it all. Along the way Williams provides us with one of the most sublime narratives ever written, it's that good. Whatever you do in life, make sure you read Stoner, it's a masterpiece. 

Annihilation - Michel Houellebecq (2022, English translation, 2024)

 

Rating: Excellent

I first read Houellebecq way back in the early twenty-first century, when I discovered his novel Atomised (1998) at an airport bookstore and read it on my holiday; not exactly holiday reading, but it was compelling nonetheless. Bleakly existential and darkly funny, it was also very sexy, and also, like the first time I read Murakimi (Dance Dance Dance, 1994), so startlingly fresh that I couldn't help but became an instant fan. Annihilation still contains elements of the in your face controversy and freshness of Houellebecq's earlier work, but here it is somewhat toned down, resulting in a work that comes across as serious, adult writing, focussing on universal Existential themes of what it is to be human. Annihilation reminds me of John Fowles writing, in particular his novel Daniel Martin (1977), both in terms of quality and thematic complexity. Annihilation has three main narrative strands, one focusing on the principal protagonist, Paul Raison and his family life, the second dealing with a terrorist group that posts gnomic videos and messages online, and the third dealing with the mysterious workings of French politics. All three are interrelated, with Raison working as an advisor to the French minister of finance, Bruno Juge. Juge is one of the targets of the terrorist group, who depict him as being decapitated with a guillotine in a disturbing deepfake video. Raison has personal problems related to his ailing father, his siblings and his fading marriage to his wife Prudence (she's revealed to be a vegan, a pagan and the owner of at least three pairs of hot-pants). It's an unusual blend of themes, but Houellebecq makes it work and the novel is oddly compelling, despite the prose sometimes coming across as rather flat, which may be a stylistic choice unto itself, or the translation.

Within the scope of Raison's family life Houellebecq explores the problematic moral and practical concerns of the care given to the aged and infirm, with his retired father having suffered a major stroke that leaves him paralysed. Houellebecq critiques the West's flawed attitudes to age and death, both in terms of how the State deals with it, and how individuals deal with it within the West's spiritual and religious vacuum. Raison's sister, Cecile, is a Christian, and her beliefs and coping mechanisms are used to highlight the opposing secular attitudes of her brother (in the end, Christianity is shown as not really being of much use...). Raison's relationship with his wife is at the heart of some of the novel's most positive and heartwarming moments. Houellebecq, it seems, is fully prepared to explore redemption within a romantic relationship, which, given what usually happens in his other novels, comes as somewhat of a shock. Indeed, the terms positive and heartwarming would not have been used in any reviews as descriptors of his previous work. But within the novel's narrative framework it works well and you can't help but be happy for the married couple, although, of course they are eventually confronted with some of life's most bleakest and inevitable outcomes. Paul and Prudence's relationship also contains some of Houellebecq's trademark sexual frankness, with Prudence being described in one extended scene as being almost permanently up for it, while also administering sexual favours that last for hours. It almost makes one long to be married. Meanwhile the matter of the terrorists is not fully resolved, which surprised me, but perhaps it is just like the other events in the novel, both the personal and the political - just another thing that happens in the black theatre of life, running along in the background, oblivious to the triumphs and tragedies of human life. Annihilation of one of Houellebecq's most satisfying and fascinating novels', if you are new to his writing it is perhaps best to start elsewhere, but ultimately it stands as one of his best.

The Anniversary - Stephanie Bishop (2023)

Rating: Mediocre

Even though I finished The Anniversary only two weeks ago I've had to look it up to remind myself what it was about and what happened across its interminable length. I'm finding it difficult to even write this review, such is my antipathy toward the novel. In any case, here I go: JB Blackwood, a novelist, and her famous filmmaker husband, Patrick, twenty years her senior, embark on a cruise in order to rekindle their relationship. There's much more to it, of course, taking in such weighty themes as the nature of narrative, which is often fragmentary and opaque (as the novel keeps reminding you) and the power imbalance that can exist between men and women, especially in the creative field, and, of course, the mysterious nature of marriage. It turns out that Patrick was JB's tutor (what a surprise!) and JB's rather naive crush turns into a marriage in which both fuel the other's artistic endeavours, until it all comes to an end on the cruise to celebrate the couple's anniversary (hence the title...). The story is told strictly from JB's perspective in a very claustrophobic first person style, with no direct dialogue, rather JB informs the reader what other characters are saying and doing. JB's perspective totally dominates, which is part of the thematic point of the novel. It doesn't take long to suspect that JB is an unreliable narrator and that the reader is only privy to a skewed and distorted version of events, both in the present and the past.

Marketed both as a mystery and a thriller, The Anniversary is neither. JB's musings have a soporific effect on the mind and body, as she endlessly ponders her past, her marriage, the publishing industry and most of all, the loss of Patrick, who has 'mysteriously' fallen overboard during a storm off the coast of Japan. Unfortunately there's no mystery about it, as it is obvious that JB herself was directly involved. It's hard to be sympathetic toward her, she is a distinctly unlikable character. For a novel to really have emotional resonance it needs to make you care about what happens to the principal protagonist, however I didn't care at all about JB's predicament; her struggle to get through the demands of an author tour right after the death of her husband, her traumatic childhood due to her mother's disappearance, and her attempts to outrun her part in Patrick's death. The novel slumps badly during a lengthy middle part in which JB stays with her sister's family in Australia, which very obviously explores the dysfunctions that lay at the heart of her wider family. The Anniversary does have something going for it, it is easy to read, but unfortunately it reveals itself to be one of those popular fiction novels masquerading as literary fiction. There's lots of them out there and perhaps that's what the novel is being compared against, surely this is why it was long listed for The Stella Prize? The Anniversary was a book club read and I have to report that it is one of the worst received novels in the near twenty year history of the Subiaco Library Book Club. I ask members to rate the novel out of ten at the end of each session and ninety percent of the ratings fell below five. No mercy was shown toward the novel by the members, making my comments in this review seem tame in comparison. Enough said!

 

Tomas Nevinson - Javier Marias (2021, English edition 2023)

 

Rating: Sublime

I had prior warning that Tomas Nevinson is a superb novel from both a colleague and a library patron, both of whom have excellent tastes. Turns out that they were right. Marias, who unfortunately passed away from covid induced pneumonia in 2022, was considered to be one of Spain's greatest ever writers. He was prolific, producing some sixteen novels, along with short story and essay collections. Apparently he was somewhat of a curmudgeon, complaining about the trials of modern life in his regular newspaper column. Tomas Nevinson is his last novel and is one of those works whose brilliance is apparent within the first few paragraphs. The prose is crystal clear, sophisticated, erudite and compelling. Told, initially at least, from the first person perspective of the eponymous protagonist, the novel is deeply psychological and philosophical, both thematically and literally. The first hundred pages are dominated by Nevinson's musings regarding his past, his present situation as a retired agent (from MI6) and his sunset job as a public servant. He meets his former boss in a park in Madrid, the debonair and sinister Bertram Tupra. Tupra wants Nevinson for one last job. They move to a cafe where Tupra tries to railroad Nevinson into taking the mission, which involves living in a north-western Spanish town called Ruan in order to investigate three women, one of which aided and abetted ETA terrorists from the Basque region. That's all that happens in the first hundred pages, but somehow, despite the glacial pacing and Nevinson's digressive musings, it is utterly compelling and absorbing.

Marias had a massive personal library

Essentially Tomas Nevinson is, like Donna Tartt's The Goldfinch (2013), an example of modern realism, giving no concession to the narrative greed of the modern reader. The pace of the novel adheres to the pace of living as a spy in a Spanish town, complete with the mist that obscures the figures walking back and forth over the main bridge opposite where Miguel Centurion (Nevinson's undercover alter ego) lives, spying on the three Ruan woman via various means.  After the long opening chapters in which Nevinson ponders his life and the way forward in the first person, here the narrative slips seamlessly into third person, until you realise that the narrator is actually Nevinson, referring in the third person to the actions and thoughts of Centurion. It's a skilful and clever sleight of hand by Marias, one that works extremely well, drawing you into the deep psychology of both Nevinson's character and that of his alter ego. Marias characterisations are superb throughout, the metrosexual Tupra is exceptional and, in particular, the husbands of two of the suspects stand out; one a vain and egotistical dandy dressed in lurid suits, the other a conceited control freak, arousing himself erect by play-fighting with his antique swords. Within all of the musings and serious moral themes there's some canny humour to be had.

Pondering The Trolley Problem

Tomas Nevinson is an examination of the moral conundrums of the famous Trolley Problem. The moral complexities Nevinson grapples with is confounding for Centurion (see what I did there...?), but crystal clear for the likes of Tupra and his many and varied associates. It's a complex but rewarding moral maze for the reader to get lost in, always compelling despite frequent slow passages of digression and almost neurotic musings from Centurion. Tomas Nevinson is a companion piece (specifically not a sequel, according to the author himself) to Marias' prior novel, Berta Isla (2017). They stand as individual works, however a library book club member who went on to read Berta Isla commented that it shone useful light of Nevinson's psychology and his back-story with Berta, who is Nevinson's wife. Berta does feature in Tomas Nevinson, but Berta Isla is her story, told from her perspective, allowing the reader to consider Nevinson from the outside, which indicates that it is probably best to start with Berta Isla. As someone new to the works of Javier Marias, I can't wait to read all of his work; at last, another worthy literary author discovered, too late to enjoy him while alive, but I'm sure that his brilliant work will live on.

Crime and Punishment - Fydor Dostoevsky (1866) This version translated by Richard Pavear and Larissa Volokhonsky (1992)

 

Rating: Admirable

"Why do people who read Dostoevsky look like Dostoevsky?": Here Comes a City - The Go-Betweens (1996)

For the record, I don't look like Dostoevsky, but by the time I finished Crime and Punishment I certainly felt like I could relate to how Dostoevsky might have felt (bleak, to put it bluntly). I thought it was time to try and read some of the Russian literary greats and chose to begin in the most obvious place with Dostoevsky. Firstly, reading a novel that was written in the middle part of the nineteenth century is a very different proposition to reading novels written a century later. It takes a while to adjust to the archaic writing style, let alone the very Russian archaic writing style. Crime and Punishment is written in the third person, but it is a very closed third person. The famous main protagonist, Rodion Romanovich Raskolnikov, very much dominates the oppressive narrative with his nihilistic world view. It is extremely claustrophobic and bleak, with scenes dominated by Raskolnikov cowering in his hovel of a bedsit or wandering the dark streets of St Petersburg; or scenes involving the many other characters talking to him, or talking about him to each other as if he isn't in the room. I wouldn't be giving anything away by mentioning the double murder he commits in the first part, as it is one of the most famous murders in literary history. The murder scene is quite gruesome, but what Crime and Punishment is really all about is what happens in the aftermath of the murders, enabling Dostoevsky to explore the moral quandaries of human nature and the intellectual and spiritual scaffolding humanity places around itself to cope with what lies beneath. As a precursor to the existential writers of the twentieth century, like Sartre, Celine and Camus, Crime and Punishment is a fascinating read. Raskolnikov rejects pretty much everything, God, religion, the State, education, work, money and close relations with other humans. He is completely alienated and is a totally unsympathetic character, to the extent that you couldn't even refer to him as an antihero. It's hard going and I needed to read the novel in three seperate periods of time. Frankly it was a triumph of will just to finish it, maybe I should have read Nietzsche in-between to give me strength (apparently Nietzsche loved Dostoevsky's work).

Dostoevsky, looking like Dostoevsky after reading Dostoevsky

I've read that Dostoevsky is not necessarily known as a great literary stylist, or even as a storyteller, but that he is all about exploring ideas. Crime and Punishment is best read with this in mind and it will help, just. It's a hard slog through a dialogue heavy narrative, in particular during the scenes involving multiple characters, where it is hard to keep track of who is saying what and just who is in fact there, as each character is know by at least three different names. It is extremely long-winded, with whole chapters going by with not much happening in terms of action or plot, just long extrapolations of conjecture, philosophy, or just downright misery. With this in mind it is useful to remember that authors in the nineteenth century were often paid by the word and their works were serialised, giving them an income for as long as they could spin them out. The novel does not arrive at its main thematic thrust until 260 pages in, when suddenly Raskolnikov's murderous actions makes sense in terms of his world view. The novel then became a bit easier to read, for a while! One of the main problems, from a modern readers' point of view, is that there is not much in the way of extrapolation from the author, Dostoevsky's authorial voice is mostly absent, instead the characters explore the novel's themes via dialogue, or via their actions, which are often confusing or confounding. Looking on Goodreads I noted that some readers proclaim Crime and Punishment as one of the greatest novels ever written, while others condemn it as a bloated wreck of a novel, with few redeeming features. I sit somewhere in-between, whilst I appreciate the novel's historical importance, in particular in terms of its ideas and themes, I did not enjoy reading it much at all. However I'm pleased I've read it and it hasn't put me off reading other novels by the Russian literary greats. If you read Crime and Punishment, do some prior research and keep in mind that it was written for an audience very different to us and that will help you through the challenge of actually finishing it. Good luck!

Death Holds the Key - Alexander Thorpe (2024)

 

Rating: Admirable

I read this novel as a tie-in with the Subiaco Library Book Club and the Fremantle Press Great Big Book Club author talk event held at Subiaco Library. Fremantle Press is a great Perth institution, an independent publishing house of some repute. Local authors Alexander Thorpe and Robert Edeson spoke about their respective novels, resulting in an insightful evening of cosy crime. As with many crime novels, Death Holds the Key is part of a series, called the Itinerant Mendicant series, which has a nice archaic ring to it. The novel is the second in the series, following on from Death Leaves the Station (2020) and features a nameless, short statured monk who has the tendency of getting involved in solving murder mysteries. This time the action is set mostly in Western Australia's wheatbelt region of Kojonup in 1928. The central plot device is a locked room murder mystery in which much the hated patriarch, Fred O'Donnell, is found shot dead in his locked study with signs of a struggle and no weapon to be found. Enter rookie detective Hartley, sent from Perth to investigate sightings of a robed figure who is, prior to the shooting, creeping around and arguing with O'Donnell. Hartley soon encounters the mendicant monk and they make an entertaining investigative pair. The mendicant monk is intelligent and observant, but does not give much away until he really needs to, an ideal foil to Hartley, who is unconfident and nervy and doesn't feel up to trying to solve the mystery off his own bat.

Thorpe deliberately (I know this, because I asked him at the author talk...) writes in the rather formal style of the era. It works quite well, particularly during scenes set at the O'Donnell homestead involving the extended family,  although readers unfamiliar with such period stylings might find it both a bit staid and verbose. Thorpe does well to bring the extended O'Donnell cast to life, with distinct personalities and attitudes that make them potential suspects. The central mystery of how Fred was killed stays alive long enough to engage the reader, but it is the why that is more interesting. In this regard there's some surprises lurking within the narrative not usually associated with gentile cosy crime. Of course there's red herrings, twists and turns and some reprehensible characters that cause problems for the friar and detective. Along the way there's also a trip from Kojonup to Perth in which period representations of familiar Perth landmarks stand out as highlights. There's something about reading a narrative set in your part of the world, even if it is nearly one hundred years ago. Overall Death Holds the Key is a classy (and on occasion, humorous) novel that does enough to engage the reader and fulfil all the usual cosy crime tropes with a little finessing that will keep fans of the genre happy. Worth a read to relax while supporting a local author and local publisher.

The Painter's Daughters - Emily Howes (2024)

 

Rating: Excellent

Another book club read, another historical fiction novel, but The Painter's Daughters is a quality example of this sometimes maligned genre. Thomas Gainsborough was an excellent landscape portrait artist, pretty much inventing the form due to his love of landscapes combining with the need to produce portraits to earn enough money to keep his family going. Married to Margaret, the illegitimate child of the union between a commoner (see below) and the Duke of Beaufort, they had two daughters, Mary (Molly) and Margaret (Peggy). As the novel's name suggests, this is about the lives of Molly and Peggy, as told through Peggy's voice, who, although the youngest of the two, spent her life looking after Molly. Molly suffered from an unnamed mental illness that led her to take flights of fancy and risked being sent to an asylum, a terrible fate in the eighteenth century. The historical aspects of The Painter's Daughters are fascinating and, from the research I undertook, stays true to what is know about the Gainsborough family. The novel follows the family from country Ipswich in Suffolk, to Bath and then onto London. As the daughters get older the pressure to fit into normal polite society mounts, and so does the narrative tension as Peggy attempts to keep Molly in check and navigate the demands and mounting frustration of their mother, who is alarmed by Molly's mental illness and their inability to fit in. There are also chapters involving said commoner, Meg, whose unfortunate story is told via past flashbacks and brings the present world of the Gainsboroughs into sharp relief.

Howes is a skilled writer, and considering that The Painter's Daughters is her debut novel, it is remarkably assured. Howes descriptive powers are such that scenes are vivid and encompass all the senses, in particular those set in the bustling streets of Bath. Although sometimes relegated to the background, Thomas Gainsborough comes to life as the affable and eccentric painter of renown. The scenes involving him painting in his studio are fascinating, atmospheric and beautifully written. The Meg chapters build in tension, despite the prior knowledge that everything does work out, Howe's makes you worry and care about her eventual fate. Peggy and Molly's story is tragic, yet contains many moments of tenderness and hope. They are extremely sympathetic characters and in Howes skilled hands they come to life. All of the characters are well developed, from the daughters themselves, through to Thomas, Margaret and the array of minor characters, such as Gainsborough's patron, the humorously named Thicknesse, his eventual wife Ann Ford and finally the bounder, (the operator of the playboy type*) of the story, Johann Fischer, an oboist of dubious renown. Fisher's presence in the Gainsborough house-hold is insidious, flirting with both sisters without compunction. That the sisters' story ends in tragedy lends a melancholic tone to The Painter's Daughters denouement, however the novel is still satisfying. Most of the book club members enjoyed the novel, finding it easy to read and replete with fascinating historical detail. It was remarked that The Painter's Daughters would be a great holiday read, although one with some substance and emotional clout. Recommended, whether you are on holiday or at home with a cup of tea and a cat on your lap.

* See Whit Stillman's film Damsels in Distress (2011)

In the Approaches - Nicola Barker (2014)

 

Rating: Excellent

First of all, In the Approaches is a very strange novel. Secondly, only an English author could write such a novel. In the Approaches is a multifaceted beast, a romantic comedy, of sorts, a surreal tale of eccentric characters being very odd in the English country-side in the 1980s, a metafictional narrative, a rumination on faith and, also, terribly chaffed and inflamed buttocks (yes, you read that correctly). The narrative unfolds in alternating first person chapters, mostly swinging between the two main protagonists, Franklin D. Huff and Carla Hahn. Hahn is a resident of the sea-side village of Pett Level in the UK and Huff is a visitor, on a quest to try and discover what happened many years prior when his wife lived and worked there, before she was horrifically burnt in a bomb blast. Stylistically it is a difficult novel to get used to, Barker loves to leave sentences unfinished, the thoughts of the characters are left there hanging as they try and make sense of the situation and how they feel about it all. She also loves parentheses (apparently this is a hallmark of Barker's writing), so much so it is made fun of throughout the novel, particularly by one of the minor characters, Clifford Bickerton. Bickerton is a thoroughly post-modern character, complaining about having to be part of the story, raging against the author (referred to as 'she') and undergoing an existential crisis due to his self awareness about just being a minor character in a novel. At one point printed words stream out of his mouth as he has a breakdown, trying to deal with the awfulness of it all. It is, in actual fact, all quite entertaining.

Once I got used to Barker's idiosyncratic style and settled into the characters and the story-arc, In the Approaches shaped up to be a satisfying read. The characters are potentially irritating, in particular Franklin D. Huff, but Barker manages to make them endearing and their continued perplexed state of being becomes a plus, rather than a minus. Just how Barker manages to do this is somewhat of a mystery, as the seperate ingredients seem like a recipe for irritation, rather than satisfaction. Perhaps it's Carla Hahn's propensity to continually flick her hair behind her ear with her hand, or her tendency to take no heed of feminine gender norms. Perhaps it's the chapters entirely given over to a parrot called Baldo (or is that Teobaldo?) who shrieks and scratches its way through what seem like entirely too long chapters (yet somehow, in the end this works). Or perhaps it's the mystery of the thalidomide child, Orla, who became saint-like in her obsession with Christianity before her death and who went on to influence proceedings in gnostic ways that perplex many of the characters who inhabit In the Approaches. Perhaps it is the romantic pull and push between Huff and Hahn, which involves a dead and rotting shark under a bed, a tiny sauna perched on a clifftop about to fall into the sea, and the strange smell of eucalyptus that surrounds them both. Intrigued? Then maybe this is the novel for you. The novel's denouement is oblique and perhaps a tad disappointing because of it, but then Barker is not a typical author prone to cliches used to wrap things up neatly, after all, the novel is aptly named, as in the end, the reader, like the characters who populate the novel, is also trapped in the approaches. 

Euphoria - Elin Cullhed (2021)

 

Rating: Admirable

Sylvia Plath was a brilliant writer of both verse and prose and even the most casual reader of literature would know something about her. Her only novel, The Bell Jar (1963) made a huge impact on me when I read it some eighteen years ago, it seemed brilliant and radiant in its intensity, despite its challenging subject matter. Plath was married to English poet, Ted Hughes, and during her last year she was living in Devon whilst pregnant with their second child. Their marriage unraveled and Plath ended up living in London with her two children whilst Hughes pursued his need for ‘freedom’ (as quoted in the novel) with another woman. Plath’s tumultuous relationship with Hughes is well documented and for most of the rest of his life Hughes was attacked by feminists and critics for having treated Plath poorly or for even being the cause of her death. Elin Cullhed, in an interview, relates how she read Plath’s journals during a trip to England when she was twenty, which made a big impact on her. Then years later, during a period in which Cullhed was diagnosed as having extreme exhaustion, she was inspired to write a novel about Plath’s last year before her untimely suicide at the age of thirty. In Euphoria’s forward it is noted that the depiction of Plath is a fictional one, a 'literary fantasy' as Cullhed puts it, a notion that the reader should remember while reading the novel. 

Hughes and Plath

Euphoria is a novel intense with emotion and inner psychological tension and in this sense Cullhed has succeeded in portraying both a troubled individual and a marriage compromised by interpersonal and professional struggles. Written in the first person point of view of Plath, the prose is ripe with a heightened state of self-awareness, of neurotic desperation and self-sabotage. The portrayal of Plath's state of mind is suffocating and unrelentingly neurotic and, as a result, Cullhed has done Plath no favours, as she comes across as impossibly demanding and impossible to live with. Ted Hughes was undoubtably flawed, but the Plath of Euphoria weakens her position as a hard done by literary genius who battled depression while not getting the sympathy or help she needed from a husband who ultimately cheated on her and left her caring for two young children. Hughes comes out of the novel in quite a sympathetic light and with Euphoria so heavily weighted toward Plath's first person perspective it seems very unbalanced. Ultimately it’s an exhausting read and in the end I was speed reading just to get it over and done with, which is, obviously, never a good sign. I'm also troubled by the moral implications of putting words and thoughts into the mouth and mind of such a well know literary figure and portraying Hughes' and Plath's relationship in such a skewed manner. Despite the 'literary fantasy' warning at the beginning of the novel, I can't help but feel that readers will come away from the Euphoria with the notion that they have an accurate perception of Plath in her final year and her relationship with Hughes. Ultimately I admire the quality of the writing, but didn't enjoy the novel overall, an impression shared with many of the book club members, although some did enjoy it unreservedly. Euphoria is a flawed novel with dubious moral standing, so read with caution!