A World Without You

August 1, 2021

Alice Sebold’s The Lovely Bones is a story told by a dead girl. Narrating from heaven, fourteen year old Susie Salmon watches the fallout from her own murder, and tries to comes to terms with her death. She reflects: ‘These were the lovely bones that had grown around my absence: the connections – sometimes tenuous, sometimes made at great cost, but often magnificent – that happened after I was gone. And I began to see things in a way that let me hold the world without me in it.’

Before You Knew My Name grapples with the same mystery – how to imagine the world without yourself in it. Alice Lee has a few more years than Susie Salmon – she is eighteen when she is killed. She has fled unhealthy ties in small town Wisconsin and arrived in New York thinking ‘I have 79.1 years promised to me, that’s the life expectancy they gave to girls born in 1996, like me.’ Those years and their promise are extinguished, barely a month into her stay. 

Alice is discovered by a jogger named Ruby, another woman fleeing old connections. She has moved to NYC from Melbourne, and her first weeks in America are dominated by loneliness, the kind of exhilarating loneliness you only feel in a city where nobody knows you. Ruby is jogging in a local park during a storm when she finds Alice. Ruby can’t get the dead woman out of her mind – she hangs around the police station, asking about leads, until an exasperated officer directs her to a PTSD group, and through them, she meets the ‘Death Club’ – a group of friends who meet in restaurants and dive bars to talk about their connections to death. Lennie is a mortician, Sue lost her daughter in a car crash, Josh was technically dead himself after a biking accident for a moment or so. On one level Before You Knew My Name is a terrific story about making friends, which is not always an easy thing to write about. 

But Alice is still very much in the picture, telling the story, not from heaven but the air and dust of the physical New York. She reconstructs for us the players of her little life – the mother who killed herself, the lazy guardian who took her in, her chaotic best friend Tammy, her creepy schoolteacher Mr Jackson, the kindly old man in Manhattan who gives her a free room out of nothing but generosity and his own loneliness. At the same time she’s hanging around Ruby, trying to push the older woman in the right direction, towards new friends and away from feckless lover Ash back in Melbourne. Alice is fascinated by people and life, sees kinetic energy coursing through them. Sometimes this is overwrought. Sometimes it isn’t. When Ruby meets the old man Noah, his dog Franklin ‘gives his seal of approval, nosing at Ruby’s hand when she sits down, asking for a scratch. He looks for me still, the old mutt, and he finds me sometimes, too.’ 

‘I too have tried to get close to him,’ says Alice, ‘But the man who murdered me only has to think about what he did that morning for those wild waves to start up again, drag me under the roiling water.’ For most of this novel the killer is off the radar, outside the net. Eventually though, he can’t help putting himself into the story, turning up at the crime scene, steering conversations back to the crime, and warning every woman he meets to ‘Be careful… It’s not as safe out there as it might seem.’ America is full of unsolved murders, people who disappear and are never found, real life cases told in books like Robert Kolker’s Lost Girls and Ethan Brown’s Murder in the Bayou. But Jacqueline Bublitz gives us hope that the knock will come, for Alice Lee’s killer, for Mr Jackson, perhaps for the killers in Oak Beach and Jefferson Davis as well. 

When the Death Club hold a memorial for Alice, Ruby has one rule of conversation: ‘until the trial and resultant conviction made him impossible to avoid – no speaking about that other man, please.’

Everyday Gnosticism

July 28, 2021

Another day, another thinkpiece about conspiracy theories. This one is an extract from a book by John V Petrocelli, published at Lithub. Petrocelli begins with NBA player Kyrie Irving’s startling claims in a 2017 podcast:

This is not even a conspiracy theory. The Earth is flat. The Earth is flat. The Earth is flat… What I’ve been taught is that the Earth is round. But if you really think about it … There is no concrete information except for the information that they’re giving us. They’re particularly putting you in the direction of what to believe and what not to believe. The truth is right there, you just got to go searching for it.

Petrocelli seems to suggest that trying to argue Irving out of his beliefs won’t work:

If someone believes that it is more likely that thousands of scientists, worldwide, are colluding in a conspiracy to hide the true shape of the Earth, then explaining otherwise won’t get you very far. Despite the public criticism Kyrie received for his flat-Earth theory, he stood firm and remained unconvinced, saying in 2018, ‘I don’t know. I really don’t,’ and added that people should ‘do [their] own research for what [they] want to believe in’ because ‘our educational system is flawed.’ It is one thing to suggest people do their research and another thing to make claims about things one clearly knows nothing about—but something tells me Kyrie hasn’t really cared to look at genuine research evidence.

I’ve written about this stuff before. But since then, I have been reading Daemon Voices by the phenomenal Philip Pullman. Daemon Voices is a book of essays, collected over two decades, but with a striking consistency in their themes of faith, scepticism and the imagination.

Something I had not come across, until I read this collection, was Gnosticism. Pullman explains it like this:

To sum it up briefly and crudely, the Gnostic myth says that this world – the material universe we live in – was created not by a good God but by an evil Demiurge, who made it as a kind of prison for the sparks of divinity that had fallen, or been stolen, from the inconceivably distant true God who was their true source… It’s the duty of the Gnostics, the knowing ones, to try and escape from this world, out of the clutches of the Demiurge and his angelic archons, and find a way back to that original and unknown and far-off God.

As Pullman says, this idea puts believers at the very heart of its story. You are important and special, you are a spark of divinity in a fake world. Pullman saw – writing in 2002 – the shades of Gnostic myth in mainstream conspiracy – ‘at the popular end we have The X-Files and The Matrix and the Truman Show, which are all pure Gnosticism.’ Since then of course the Matrix ‘red pill’ concept has been adopted by the more malign reaches of conspiracy theorising – QAnon, anti vaxxers, incels, antisemites – but you can also see how good people like Kyrie Irving can drift toward the harmless moonbattery of flat earthers.

Pullman goes on to say this:

This notion that the world we know with our senses is a crude and imperfect copy of something much better somewhere else is one of the most striking and powerful inventions of the human mind. It’s also one of the most perverse and pernicious…. it encourages us to disbelieve the evidence of our senses, and allows us to suspect everything of being false. It leads to a state of mind that’s hostile to experience. It encourages us to see a toad lurking beneath every flower, and if we can’t see one, it’s because the toads now are extra cunning and have learned to become invisible. It’s a state of mind that leads to a hatred of the physical world.

And that is a terrible thing, because we are nowhere without ‘the physical world, this world, of food and drink and sex and music and laughter’.

I’m sure the Gnostic myth is very well known, but it was new to me, and I think it gives more insight than much science writing into susceptibility to conspiracism. For myths are more powerful than truths.

Bollywood Tragedy

July 10, 2021

Hospitality is hard work. The hours are long. The managers can be difficult. You live on tips and leftovers. You deal with complaining nitpicky customers by day and drunken unpredictable customers by night. 

Now imagine having to investigate a murder on top of all that. 

Kamil Rahman is living in somewhat reduced circumstances above the Tandoori Knights restaurant in Brick Lane. Prior to this Kamil was a budding homicide detective from a respected police family in Kolkata, but he has been forced to flee India after screwing up his first big murder case. His parents are ashamed of him, the Home Office is trying to deport him, and, it appears, a mysterious hitman wants him dead. 

Ajay Chowdhury is good at writing about hospitality work – the drudgery and stress of it, and also the camaraderie and laughter that seems to exist beside the drudgery. The Waiter opens with a big gig for the Tandoori Knights staff – they are catering a private party for wealthy businessman Rakesh Sharma. At this point you just have to relax and enjoy Chowdhury’s observations. Not long in London, Kamil expects Billionaire’s Row to be a ‘futuristic nirvana’, but finds instead ‘a deserted, shabby road with half the houses in total disrepair, hidden behind forbidding black hoardings and padlocked iron gates. It looked as though the billionaires had fled the country en masse after a people’s revolution.’ The venue itself is ‘a large double-fronted Georgian house, in the centre of which an overexcited architect had plonked a portico. At the entrance sprung four tall white columns topped by a triangular pediment displaying sculptures of Hindu gods and goddesses disporting themselves in various states of undress. Underneath was a large plaque with the words ‘Sharma Manor’. It was an unique Anglo-Greco-Bolly-weirdo style of architecture.’

Rakesh Sharma is a success story who has fought his way out of the Basanti slums. But he’s dead by the end of this night, and the cops arrest his beautiful young wife. Kamil has his doubts, though, and to restore some measure of his own pride he starts to run his own investigation between restaurant shifts. 

What follows is a workable detective story. Kamil tries to unravel the mystery as best he can with no official standing as an investigator. At the same time he’s remembering his first big shot in Kolkata, the murder of Bollywood star Asif Khan, and how that case fell apart. We’ve been here before of course, but again it’s Chowdhury’s gift of observation that makes the story work. He describes two cultures, London and Kolkata, sending up both worlds and shining a light on the places where they intersect. Kamil was a rising star in Kolkata but finds himself balked at every turn by a dysfunctional police bureaucracy. A key piece of evidence disappears into the tomb of the malkhana, and to find it, Kamil enters this dismal underlayer of the police station:

I peered at the paan stains and damp patches on the bare concrete walls of the malkhana. It was sweltering here, the slowly rotating fan above doing little more than distribute the humidity around the room. The police headquarters became grungier and more dilapidated the further down you came; the executive offices at the top, pristine, wood panelled and air conditioned; the holding cells at the very bottom in the sub-sub-basement suffocating, filthy, stinking and damp. 

And that is not the worst of it – Kamil remembers a morgue that had ‘Bodies lying everywhere in the refrigerated room, some stacked on top of each other, sometime more than one on a stretcher. Some looked as if they hadn’t been touched in months. When I’d joined the homicide division, Abba had drummed into me, ‘First rule of police work, get a good PM doctor. The bad ones miss things all the time and you will be on a monkey chase.”

Chowdhury also evokes a changing London. Tandoori Knights owner Saibal complains that ‘Brick Lane is different – all young people and tourists now, no regulars anymore. I have to worry about things like Trip Advisor reviews-sheviews and Instant-gram – complete nonsense. People going click-click at their plates all night long. Tweeting and twatting. Good food, good service is not enough. Now the food has to be beautiful so people can take pictures and put on the Google. How do you make a chapati look nice?’ 

The dialogue is funny, idiosyncratic and real – indeed The Waiter is best when Chowdhury just lets his characters talk. Saibal’s daughter Anjoli, irreverent and quick witted, is the perfect assistant and foil for the gloomy and rule-bound Kamil. 

This is Ajay Chowdhury’s first crime novel and hopefully there will be more Kamil Rahman books to come, for it’s a pleasure to spend time in his world.

Notes on a Scandal

June 29, 2021

Until then, hypocrisy had had its moments, in politics, in religion, in commerce; it had played its part in innumerable social interactions; and it had starred in many Victorian novels, and so on… Looking back, hypocrisy might have smiled at its earlier reticence, for it soon grew accustomed to the commanding heights.

– Martin Amis, Koba the Dread

What follows is some observations, not necessarily coherent or insightful, about the Hancock affair

I know I’m late with this but it’s the kind of story that just runs on forever. Yet it’s a surprise that we are surprised. The authoritarian populist ideology on which this government is based doesn’t see the hypocrisy in the whole thing. They are democrats, as long as people elect ‘strong leaders’. The ‘strong leaders’ can do pretty much what they want while the rest of us work the fields. Scandals that erupt around the lords and ladies don’t ‘cut through’, and even if they did – it wouldn’t matter. As I’ve said before – rules are for the smallfolk to follow. Lockdowns are for the little people.

I totally get the reaction of some people who say that adultery is wrong and not morally neutral. Adultery breaks up families, causes emotional harm and social discohesion. So there is an argument for saying ‘If his wife can’t trust him, who can trust him?’ I get that. Still, you can’t prosecute Hancock for adultery and most people wouldn’t think we should be able to. These are moral judgements, not legal ones.

Until COVID-19. The pandemic has blurred the lines between legal and moral judgements. Under lockdown if you meet up with more than six people, sit in a pub without ordering a ‘substantial meal’, enter a shop without a mask, sing in a choir, hug someone (I am generalising because the rules over the last year or so have been complex and subject to arbitrary change) … you are seen as breaking the law, and worse, you are literally endangering lives. The confusion between COVID-19 laws and public health guidance makes it more difficult, and accompanying official law/guidance is the personal judgements people have made about what endangers public health – complaints about people spitting in the street, children blowing bubbles, rowdy people on trains, people sitting in beer gardens, the list is endless. I keep coming back to that essay by Regina Rini, written at the beginning of the pandemic: ‘We cease thinking about victims as persons, but instead as vectors of disease.’ Being a person in a time of COVID-19 is not easy.

Things are more relaxed now than they were in spring 2020 or winter 20-21 and indeed it’s becoming difficult to remember what the atmosphere was like in those scary febrile days. The fear, misanthropy, conformity, judgmentalism was stark. Dominic Cummings became the lightning rod for all this last year, although he wasn’t seen as a hypocrite (Cummings, probably wrongly, was characterised as laissez-faire on the virus). Until the Barnard Castle story broke, support for the government had been near uniform. There was a sense that he had broken if not the letter of the law but the spirit of the lockdown. Matt Hancock is a different person to Cummings – he was the government’s foremost public health bore and lockdown zealot who slammed SAGE advisor Neil Ferguson when the professor was himself exposed in May 2020.

When was the last time ministers screwing around became big news? You have to go back to the 1990s. Matt Hancock is big news now because the pandemic has litigated how and when people can interact with each other. Interactions can spread the virus. And what has grabbed people’s intention about the story is not the possible breach of law (or is it guidance?) the fact that Hancock’s relationship with Coladangelo (at least in some form) predated her employment for him, not the implications for public integrity or details about the COVID-19 stimulus money train. People are watching because of the kiss, the thrill and the secret of adultery, and they have a good reason to watch because what Hancock and Coladangelo did was against ‘the rules’. And we are going to have to live with this virus for a while yet. So pretty much everything about a politician’s private life is now open season.

What gets me is the fretting that people won’t ‘respect the rules’ because of Hancock’s example. Again the idea that the public’s actions can be so influenced by one disgraced minister, to the degree that it could increase COVID-19 rates. Again the idea of us as peasants watching intently the great game of thrones. Don’t get me wrong. Politicians are public servants, they are worthy of respect until they lose it. But they are not role models and people don’t think of them as role models.

People get the government they deserve. It’s said that the various political misdeeds exposed in the newspapers fail to ‘cut through’ because ordinary people are not interested in them. If you want to keep voting for a bunch of grasping, thieving, pompous bores, snobs and petty tyrants that’s fine. If hypocrisy is the compliment vice pays to virtue then it’s a backhanded compliment with the joke very much on the rest of us. Democracy depends on an informed citizen population. We have had eleven years to get to know this lot, and I think we have given them a fair hearing.

Bandages and Bullets: Natasha Pulley’s The Kingdoms

June 16, 2021

A nineteenth-century psychiatrist defines paramnesia as

‘The blurring of something imaginary and something real. Most commonly, déjà vu; the sense you’ve seen something new before. And its opposite, jamais vu, which is when something that should be familiar feels wholly alien.’

When the doctor says this, his patient, Joe Tournier, cries out in recognition: ‘Yes!… Yes, that second one, ever since that man found me at the station!’ 

We all know that second feeling, when something ordinary becomes strange, and I wonder if it’s common to people living under authoritarian regimes, as Joe does. He comes to himself on a train just pulling into London… that’s actually ‘Londres’, because Joe is in a nineteenth century where the French won the Napoleonic Wars. In this reality, it’s 1898 and England is just one more colony of Napoleon’s republic, Joe Tournier just one more slave inside it. Even though well into middle age, he remembers nothing before the train pulled into the Gare du Roi. His wife and child are strangers he must get to know all over again, his past is a mystery. Years go by and nothing returns. 

The only physical trace Joe can find of his past life is a postcard showing a lighthouse in the Outer Hebrides and a cryptic message – COME HOME, IF YOU REMEMBER. When Joe reaches the lighthouse of Eilean Mòr (and it takes some doing) he finds that the island is a spooky place. Winters arrive in a single day. Everyone has tortoises. The lighthouse itself is like an optical illusion – from one angle it’s a proud beacon, from another a crumbled ruin. There are two stone pillars in the causeway with names carved onto them. 

For in Eilean Mòr a portal in time has opened. Joe finds himself shanghaied into the past to fight the battle of Trafalgar all over again, and win it this time. 

It sounds a bit silly – Blackadder in a time machine. But any potential absurdity of the concept is buried under the gravity of events. Joe is conscripted by the mercurial captain Missouri Kite, and life on board his ship is full of the horrors of naval wartime – floggings, drownings, sleeplessness, amputations, annihilation. After each battle, Kite’s sister Agatha (who is also the ship surgeon) goes to tend to the wounded with bandages… or pistols. When too many sailors die, children are drafted in their place. It’s so grim it almost drags. But there is a battle in Edinburgh that is well worth your king’s shilling. And Natasha Pulley seems to capture the lure of the sea. This is Joe and Fred at the ship’s helm:

Because the water was rough, it took two people to hold the wheel. It was hard work, so nobody was allowed to do it for more than an hour, but it was a wonderful hour. Fred showed him how to correct the course on the compass, and how, even once you’d moved the wheel, it took the ship twelve or fifteen seconds to start swinging in the direction you wanted. By the time their hour was up, they were soaked and laughing, and in a flying rush, Joe understood why all these people had signed up for such a wet, miserable, dangerous life.

We’re used to research-heavy historical novels (the Culture Secretary, raging against woke arts, may want to take solace in contemporary English fiction, which seems stuck in the more respectable parts of the English past) but there’s a narrative grace to The Kingdoms that makes it better than most. As we get to know the characters, the terror eases off. Missouri Kite is a monster, but a human monster that war has made. He is so a creature of the navy that he feels nervous on dry land, because the ground isn’t rolling. The time travel conceit even begins to make sense because you realise how advanced technology was at the end of the nineteenth century compared to the beginning. (Sail to steam was a big development in Conrad’s time; Kite doesn’t seem to like it either.) And there is a love story that is not the expected love story.

And Pulley makes a marvellous imaginative reach into the impact that time travel could have on human psychology and memory. The blurring of something imaginary and something real – an aspect of paramnesia, and also one of a terrific novel.

The Barbour County Registrars

May 10, 2021

The last time I voted was in 2019. It was a simple thing. There are polling stations right near my home. You didn’t even need to take the poll card. You can do it around full time work, and the school run. You just walked into the booth and did it. 

If there’s something to be patriotic about in British politics it’s the ease of our voting system. Once we got rid of the property-owning qualifications, and the ban on women’s participation, voting became a simple process that gives (mostly) clear and decisive results. Liberals like me might not always like the outcomes, like the Leave vote in 2016, but at least you know what the results are. Sure, some of us might periodically argue for something like AV or proportional representation, but this never comes to anything and there’s something about the declamatory thump of first-past-the-post. 

Naturally, the government wants to make voting more complicated

Voter ID is a bad idea that never dies. There are many constitutional innovations I would import from the United States. Voter ID isn’t one of them. I remember coverage of Georgians waiting five hours on a dusty road to vote in the 2020 election. Having lost that one, the Republicans have redoubled legislative efforts to make voting more complicated still. Voting rights have a controversial history in that country, as in ours. Robert Caro, in his Master of the Senate, detailed the bureaucratic hurdles that faced Black electors in just one Alabama county of 1957:

The Barbour County registrars used a less sophisticated technique. They asked more reasonable questions – the names of local, state, and national officials – but if an applicant missed even one question, he would not be given the application that had to be filled out before he could receive a certificate, and somehow, even if a black applicant felt sure he had answered every question correctly, often the registrars would say there was one he had missed, although they would refuse to tell him which it was. Margaret Frost had already experienced this technique, for she had tried to register before – in January of 1957 – and forty years later, when she was an elderly woman, she could still remember how, after she had answered several questions, the Board’s chairman, William (Beel) Stokes, had told her she had missed one, adding, ‘You all go home and study a little more,’ and she could still remember how carefully blank the faces of Stokes and his two colleagues had been, the amusement showing only in their eyes.

As staff attorney for the Southern Poverty Law Centre, Caren Short, told the Guardian: ‘The real reason these laws are passed is to suppress the vote, and that is in fact what happens.’

ID is increasingly crucial to citizenship. The Windrush scandal in 2018 saw thousands of people lose their jobs, their bank accounts, even get deported, in essence because they could not provide reams of documentation going back many years.

Of course I am confident this is not the rationale here. When ministers get up to defend the proposal they will not say ‘We do not want certain people to vote.’ They will say it’s no different from showing your driver’s licence to get a mortgage, they will say they want to stop electoral fraud, they will make reasonable arguments (although perhaps with a hint of amusement in their eyes?) 

But we have already tried voter ID in this country, albeit on a local basis. In spring 2019 more than 800 people were turned away from polling stations in a small trial – and, considering the margins of victory for local politicians, that 800 can make quite a difference. Far from protecting the integrity of voting systems, the Tory plans potentially make local government even less accountable and more corrupt than it is at present. In all the bluster about Hartlepool and the Great Realignment of British politics, few pundits noted that the turnout last week was just 42.3%. Why didn’t the other 60-odd% vote? Why does the government want to make it harder for them to do so?

I don’t want to make a political attack here. I can absolutely imagine Labour governments bringing this stupid idea back to life.

But if the Great Realignment means anything, it is that the Conservatives are now the party of clipboard-wielding busybodies. You need two forms of ID to get a job (or keep one), you need two forms of ID to rent or buy somewhere, you will need papers to get into the pub and now you will need photo ID to get into the voting booth. ‘Active state’? You may keep it. 

The Two Musicians

May 8, 2021

I really must say a few words about Kirstin Innes’s fabulous second novel, Scabby Queen, which I have just got round to reading. It’s about an idealistic Scottish singer who has one big hit – a protest song about the poll tax called ‘Rise Up’ – then spends the rest of her life in activism and low key experimental music. Her first big tour is of Highland towns – ‘Thirty dates, none of them in cities. That’s what makes it revolutionary’ – Oban, Ullapool, Fort William, the kind of towns no London Brexit columnist would be seen dead in.

Clio Campbell is considered D list as a celebrity, but she makes a strong impression on everyone she meets, and her story is told through the perspectives of the people who knew her best – her parents, people who grew up with her, the men she married, the artists she inspired, the activists who shared her squat in Brixton in the 1990s. Innes has a gift for mimicry and epistolary detail, and I particularly liked the op-ed clippings from the right wing newspapers and the music press about her. The very names – ‘John Biddie’ – ‘Pete Moss’ – are a delight. 

Martin Amis writes in his Inside Story that ‘There used to be a sub-genre of long, plotless, digressive, and essayistic novels (fairly) indulgently known as ‘baggy monsters’… For self-interested reasons I like to think this sub-genre retains a viable pulse; but broadly speaking the baggy monster is dead.’ Surely Scabby Queen is a classic baggy monster novel, long and digressive but certainly not plotless: Innes manages to keep an array of characters, cities and timelines going without once losing our attention. It’s a fractured tale, and a great novel about uncertainty, and fractured lives.

Clio’s childhood in industrial Ayrshire is torn between her lazy, irresponsible father Malcolm and her respectable mother Eileen. Her contemporaries follow the rules, keep their heads down and train for jobs that, in the event, vaporise when the industrial base is destroyed in the 1980s. But Innes doesn’t romanticise the road Clio has taken, either. At a squat reunion in 2009, Clio’s old friend Sammi reappraises her activist peers of two decades back: ‘She saw them now, frayed, middle-aged and flustered, people who’d never held down a job, raised a kid, had managed to coast through to their forties and even their fifties on outrage and vim, untroubled by any real responsibility.’ Scabby Queen is not an advertisement for dropping out. 

Her own inspiration is Robert Burns, and I wonder if the whole story is set around this Burns poem, that we hear towards the end of the novel: ‘There was a lass and she was fair,/At kirk or market to be seen;/When a’ our fairest maids were met,/The fairest maid was bonnie Jean. And ay she wrought her Mammie’s wark,/And ay she sang sae merrilie;/The blythest bird upon the bush/Had ne’er a lighter heart than she.’

But the next verse takes a dark turn: ‘hawks will rob the tender joys/That bless the little lintwhite’s nest/And frost will blight the fairest flowers,/And love will break the soundest rest.’ Burns warns that the world breaks people who dare to rise above a certain level of mediocrity, and that’s more or less what happens to Clio. Her world is full of decent people but also hawks, circling the skies, waiting to strike. After her death, her story is rewritten, just as Burns is mainly read in golf clubs and Rotary dinners these days. Innes establishes the erasure of working class women’s stories with more deft and clarity than any contemporary academic discourse. 

Just before an Iraq war demo in 2003, Clio meets her father for the first time in many years. Malcolm is also a musician but not a songwriter: ‘If I’ve learned anything, it’s that people really only want to hear songs they’ve known before…. hear those songs that mean things to them… Och, what’s that word – nostalgia.’

Clio is subdued during this argument. She just says ‘It’s important. Make a big public stand.’ Malcolm, in full wind, goes on to say this:

You can’t stop these bastards from doing what they want to do and hang the ordinary people. It never changes, lass, believe your old father here. You know that. You’re hardly a wee girl now, are you? All the likes of you and me can hope to do is cheer them up with a couple of tunes. That’s why we were put on this earth. That’s our purpose, you and me. You’ve got a God-given gift in that throat of yours, lass – you use that rather than your feet. Sing a song for people and at least you give them some hope.

Clio wants art to be more than that. She wants change, not hope. Who is right in this argument? Should art move the world and change it? Clio’s friends don’t know where the talent and passion ends and the actual person begins. She’s a mystery, and in Scabby Queen there are big plot twists but also the nagging sense that you are not being told the whole story, that there is important stuff we’re not privy to. For how can anyone really know anyone else?

Bric-A-Brac And Murder

March 13, 2021

Weldon Kees, the great Larkin of American suburbs, wrote a poem ‘Crime Club’ that is also an impossible mystery. His case is an absence of helpful clues: ‘No butler, no second maid, no blood upon the stair. No eccentric aunt, no gardener, no family friend’ and a surfeit of misleading clues: ‘The unsent fan letter to Shirley Temple/ The Hoover button on the lapel of the deceased/The note: ”To be killed this way is quite all right with me.” It’s clear that the mystery of ‘Crime Club’ will never be unravelled, not least because ‘the sleuth, Le Roux, is now incurably insane, And sits alone in a white room in a white gown, Screaming that all the world is mad’. 

The mystery of Inga Vesper’s The Long Long Afternoon is no less impenetrable. It is suburban California in August 1959. Joyce Haney, a married mother of two, has vanished into thin air. The only clues are a couple of beer bottles, a bloodstain and a child’s sleepsuit. Of course, Mrs Haney isn’t the most well adjusted housewife around. She takes a lot of medication – even for the time – she came from a rough background, she has a rough boyfriend in her past, and she is far too friendly to ‘the help’: brilliant young Black cleaner Ruby Wright, who gets the bus from Skid Row to do the jobs that white Californian housewives will not do. 

We’ve been here before of course – the lonely struggle of Betty Draper in Mad Men, the research of Betty Friedan into the lives of upscale homemakers (‘Sixteen out of the twenty-eight were in analysis or analytical psychotherapy. Eighteen were taking tranquillisers; several had tried suicide’) – we know this time, and how crazy it seems now, men drinking and whoring in the city while their womenfolk fiddle with the air conditioning in their perfect little houses. We know Vesper’s characters. Mick Blanke is the haunted detective. Jimmy McCarthy, Joyce’s ex, is the haunted roughneck and war veteran. Ruby Wright is the aspirational young woman from the ghetto.

And yet Vesper’s novel never has the ring of overfamiliarity. Her prose is like the poetry of Weldon Kees – it’s understated but says everything. A half-finished freeway arches over the suburbs. Sunnylakes ‘looks like something from an election poster. The tidy houses, the flags, the mailboxes glinting in the sun’. Ruby suffers in her cleaner’s uniform: on the bus south, ‘her head is burning up under her little cap, and her feet are marinating in her sneakers’; cleaning the kitchen, ‘Ruby leans against the mop, which has gone slippery in her hands.’ Mick is from Brooklyn, kicked to the west coast for screwing up a case in New York, and he never gets used to the heat: ‘the sunshine makes him woozy every time he steps outside’. Investigating the Haney garden, he notices that ‘the sun flares from the tiles marching around the pool. Not a single weed dares to rear its head through the cracks.’ If that’s what it’s like to work in the oppressive summer town of Sunnylakes, living there must be worse. ‘There is hope in the morning hours,’ Joyce says, ‘just as there is desperation in the afternoon, which stretches like gum and yet contracts into nothing’. To be killed this way is quite all right with me.

Vesper writes brilliantly about male privilege and the struggles of the time. Joyce’s husband, Frank, is no Don Draper. He can work in a high paying office job but that’s just about all he can do; when Joyce disappears, Frank visibly disintegrates; without a woman in his life, he panics, and calls in his mother, a scary Lady Bracknell figure who quickly moves into the family home. Frank is a man who has been brought up to expect everything to be done for him, and is distraught to find that’s not always on offer.

In Ruby’s life there is the Sunnylakes Women’s Improvement Committee and the Skid Row Black Man’s Advancement Committee. Ruby’s not welcome at either. My life needs advancing too, she wants to tell her boyfriend. The tenement city where Ruby lives is described just as skilfully as the Sunnylakes ideal. Many of the homes are going to be bulldozed to build the new freeway. Evictions are coming, and near the end of the book, there is a riot. ‘When she steps into Trebeck Row, it’s nearly empty. Only a few people hurry to their homes or their work. Fine 49 is shut up. In the distance, Mrs Estrada is making her way to the bus stop, her dress aflame with evening light.’ You see the riot before it happens.

The head of the Sunnylakes committee is Genevieve Crane, one of the best drawn characters in the novel. Her committee is ostensibly about home efficiency and home economics, but Mrs Crane is also subtly trying to teach the housewives to think for themselves, and make their own decisions – to show them ‘that there is more to life than men.’ She understands that Sunnylakes women have been conditioned into believing they will never be complete without a husband, and that the conditioning leads some of these women into very dark places. But her neighbour Nancy Ingram snaps back: ‘You think all a woman ought to want is freedom. But freedom is damned hard, Genevieve.’

The Long, Long Afternoon recalls the 1930s noir writers in its fusion of workable mysteries and a portrait of a society. It is also a fine way to kill a long, long afternoon. 


January 9, 2021

This story has now been published in the literary journal of the Abergavenny Small Press.

Lives of the Hollow Men

December 26, 2020

There’s an argument I used to have with women writers about how literary fiction is viewed by men and women. A woman can write a deeply profound, well realised novel about family and relationships, women writers would tell me, and it’s dismissed as chick lit or ‘domestic fiction’. But Philip Roth can turn out a dozen books about adultery and critics rave about them, each dashed-off novella is received like it’s the key to all mythologies – life, the universe and everything. This argument never convinced me – I would just say that woman writers can be just as narcissistic and self involved as their male counterparts and that anyway, I’m not interested in reading about family and relationships; I wasn’t really listening. 

Dolly Alderton’s Ghosts showed me just how ignorant I was. It’s a deep, phenomenal novel, that goes to the core of the self. The setup is ordinary. Food writer Nina Dean has changed her life. She has carefully extricated herself from a relationship that has lasted since university, and she has become successful enough at writing to make a real living from it. At thirty two she has everything worked out, but still feels the pressure to catch up.

Most of her friends from youth are now married with children, and moving out of the city. Alderton is great on how it feels when close friends make what seems from the outside like inexplicable overcommitments – marriage, kids, mortgage – and the change that comes over them: it’s like a light goes out of their eyes, they turn from Jack Kerouac’s ‘mad ones’ to hollow men of the suburbs, whispering quietly and meaninglessly about loft conversions and school fees. Nina’s one remaining single ally is the amazing Lola who is vivacious and beautiful enough to attract tons of men but none of them will commit. Lola is a veteran of the app dating world and encourages Nina to set up a profile.

This is where you start to appreciate the precision of Alderton’s prose and the thought she puts into it. Online dating has been written about so many times but Alderton writes it best because she understands the pressure on people to be original, or funny:

There were a number of effete subgenres of language employed by many of the men I spoke to. ‘Good evening to you, m’lady – doth thou pubbeth on this sunny Saturday?’ one asked. ‘If music be the food of love, play on, but if a food writing love both love and music – shall we go out dancing next week?’ another wrote in an incomprehensible riddle… It was a unique style of seduction that I hadn’t come across before – wistful and nostalgic, meaningless and strange. Humourless and impenetrable.

There were the hundreds of men who feigned indifference to being on Linx – some of whom said their friends made them do it and they had no idea why they were there, as if downloading a dating app, filling in a profile with copious personal information and uploading photos of yourself was as easy to do by accident as taking the wrong turning on a motorway. 

But Nina strikes gold on the app. She meets Max who appears to be the perfect gentleman – handsome, outdoorsy, solvent and kind. The two fall for each other headlong into a passionate relationship that lasts for months – until, one day, Max just stops calling. There is a chapter, painful to read, which consists entirely of DMs – Nina sending texts that grow increasingly abject and desperate while Max responds with noncommittal one liners or no response at all. He has ghosted her and the story carries on without him. A heartbroken Nina gets swept up in other lives – her best friend Katherine is having a new baby and her ex Joe is marrying another woman. And the real tragedy of Nina’s life is that her brilliant, erudite, funny father is slowly but surely losing his mind. 

Alderton is a master of pressure and tension. There are scenes where everything on the surface looks fine, but there is that crackle of difficulty between the characters so that you keep expecting something awful to happen. Joe wants Nina to be heavily involved in the wedding for some reason that doesn’t feel healthy. Nina and Lola have to get through the wedding itself plus the hen night – rigorously organised merriment, brittle with social cohesion and careful budgeting. Katherine is so overwhelmed with her toddler plus new baby that she thinks the whole world revolves around herself and her family. At one point, Nina loses her temper with this:

You couldn’t even come to my book launch when I had no family there. You’re my best and oldest friend and not only did you not want to be there, you didn’t even feel a sense of obligation to pretend to want to be there… So you thought you’d go to a party where you could talk about babies and weddings and houses all night. Because not everyone wants to talk about babies and weddings and houses at a book launch.

There is even tension in the scenes with Max – as considerate and engaged as he is, you begin to realise that it’s a curated image: when Nina takes the conversation into places he doesn’t want it to go, the man just shuts down… and you can see that in his head he’s planning his next move. Near the end of the novel, Lola finally gets what looks like a committed boyfriend – Jethro the magician, a brilliantly drawn character, charismatic and entertaining, but it’s another curated image. There is a terrific scene where Nina confronts Jethro at his flat: ‘which was filled with the essential props of a try-hard renaissance man. The exposed-brick wall and original tiles of someone interested in heritage, but only of the building he lived in. Framed Pink Floyd albums, a pasta-making machine…’ Nina asks Jethro hard questions, which he can’t answer (‘I’m just not ready to commit properly yet.’ ‘You’re thirty-six’) and it’s clear that he has no idea how to be around women.

Nina reflects that ‘These men would emerge at some point, full of all the love and care and confidence that had been bestowed upon them over the years, and they might commit to someone. Then, most certainly, another one. Then another one when that one got boring. Their greed would not be satisfied by one woman, by one life. They’d get to lead a great many lives. Life after life after life after life.’ Men like Jethro and Max aren’t just hollow men but almost vampires: they feed off people, move on, they age, but don’t grow. And plenty more of us blunder recklessly into other lives before we understand who we are or what we want. It’s a wonder any woman would give us the time of day. 

Because it’s hard to build a life for yourself, and hard to build a life with other people. The lesson of Alderton’s fine book is that both these things take time, and work, and are worth the effort.