Archive for the ‘Relationships’ Category

A Political Marriage

January 19, 2017

thegoodwifeThere’s a moment in the documentary film Weiner, which accompanies hapless politician Anthony Weiner as he runs for mayor of New York. Weiner had to resign from Congress in 2011 after he had been caught sending intimate photographs of himself to a Twitter follower. At first the 2013 mayoral race feels like a fresh start. Weiner has restored his marriage, he has a new baby, and recent good press, he is a smart man, a good communicator: he develops rapport with the electorate easily, and New Yorkers seem to forgive his old indiscretions. But his campaign falters when it is revealed that Weiner has sent similar explicit messages to another woman (using the alias ‘Carlos Danger’) as late as April 2013. The candidate battles on despite mounting derision, hostility, disastrous public appearances and even Weiner’s internet flirt contact trying to ambush him at the count. At one point Weiner is filming a campaign promo in their apartment, while his wife, the political strategist Huma Abedin, sits on the balcony, in casual clothes, munching on a pizza slice. Off screen, someone asks if she’s appearing in the promo. Abedin barks: ‘Do I look camera ready?’

For all the talk of post feminism, it can feel like a woman’s most important function in politics is to stand by. Hillary Clinton – a woman who came within inches of leading the free world – famously ‘stood by’ her husband, during the Lewinsky scandal and subsequent attempt impeachment. It used to be, in this country, after some dope was caught rifling his parliamentary researcher, there would be a very awkward photoshoot featuring the politician in question surrounded by his nervous, edgy-looking wife and children, in a display of choreographed fealty. The parodist Craig Brown, in his brilliant epistolary comedy The Hounding of John Thomas, features a gentleman’s club made up exclusively of former parliamentarians, disgraced by offences public and private – and the club has its own spin-off, the ‘Standing-Bys’ which consists of wives who have agreed to stand by their men. If the wife of a serving politician seeks a divorce – it still feels like a shock. What the makers of Weiner had captured, in that shot of Abedin, was a real human moment – when the façade slips for just a moment, and you can see the exhaustion and the exasperation and the fury.

Set against real life scandals, the premise of The Good Wife seems rather tame. We first meet Alicia Florrick at a press conference, ‘standing by’ her husband Peter, the Chicago State’s Attorney. Peter has had to resign after a tape surfaces of him banging a callgirl: serious corruption charges follow. With Peter stuck in prison on a ten year sentence, Alicia must re enter the world of work after thirteen years as a full time suburban housewife and mother. She joins a city law firm and is soon sucked into the cutthroat world of Illinois politics, crime and law. Meanwhile, Peter gets his conviction overturned and is soon back in the political game, rising to become state governor. Alicia has to balance her own ambitions, desires and selfhood against Peter’s career and her teenage children.

It sounds tepid when I write it down, but the show is addictive, not least because of how deftly Alicia’s character is written and acted. Alicia agonises over the moral course of action in a compromised world, but never comes off as a prig or a goody goody. She’s someone who naturally plays by the rules, but she demonstrates wit, desire, independence, a fierce intelligence, eloquence and – particularly when her children are threatened – a cold and penetrating fury. Her marriage never really recovers from Peter’s infidelities, but because it’s a political marriage, she must continue to stand by her husband, in public at least – while in private, Alicia pursues her own affairs and independence: her true relationship with Peter encompasses affection, contempt, separation, shared memories and a terse détente.

Two amazing Alicia moments come to mind. At one point, she is at an official dinner with her husband, and a camera crew. The discussion turns to religion. After Peter spiels out the expected platitudes, Alicia is asked her opinion. She turns to the camera, gives a delicious smile, and says sweetly: ‘I’m an atheist.’

Later, she’s on a campaign bus during Peter’s doomed presidential bid. Leaning on a village shopfront, dog-tired and in wraparound sunglasses, she confesses to the campaign manager a moment of regret:

I think if I could go back to Georgetown right now, back in Law 101, seat 35L – that was my seat – I would have said yes… there was a young man in love with me.

These are off script moments in a partnership that is, in significant part, carefully spun. The Good Wife avoids the cliché of the evil spin doctor and instead gives us Eli Gold, a master political PR man who nevertheless has a great deal of warmth, humour and morality (and is consistently outfoxed by his millennial hipster daughter). Yet even Eli – played by the marvellous Alan Cumming – ends up trying to use his skills in places they don’t quite belong. Alicia’s adolescent children handle the public eye with more fortitude. But again there’s a sense that women are there only to stand by in the public eye – even in Obama’s America. Liberal grandee Diane Lockhart is constantly let down by the blueblood Democratic establishment: first, she loses a potential judgeship, then a Supreme Court nomination. Alicia’s own bid for political office is shot down after the Democratic machine realises that Alicia means it when she says she will speak truth to power.

The Good Wife is a crime show in its way and it strikes me that even in the best crime shows women tend to be somewhat sidelined – Carmela Soprano stood by Tony despite his crimes, and Skyler White became a hate figure for Breaking Bad fans precisely because she could see through Walt and challenge him, and because she insisted on taking an active role in his business. Political marriages in real life seem ultimately linked to criminal justice. Bill Clinton ran on a tough-on-crime programme, expanded the prison estate, ramped up the drug war, endorsed three-strike laws and created new capital offences. In The New Jim Crow, Michelle Alexander’s study of mass incarceration – particularly of African-Americans – Alexander writes that ‘Clinton – more than any other president – created the current racial undercaste.’ It’s all too possible that some of the people locked up under the Bill Clinton administration would have voted for Hillary in 2016, had they not been executed, incarcerated or otherwise deprived of their ballot rights under felony voting laws.

As Padraig Reidy points out, 2016 has been a year not for partnerships or marriage but for a certain kind of aggressive toxic masculinity. The winners at the end of history turn out to be Donald Trump, Vladimir Putin, Bashar al-Assad, Nigel Farage – ‘the movement of the golf-club revolutionary, the simultaneously triumphant and self-pitying, the irrational and trite dressed up as ‘common sense’.’ 1970s feminists said that the personal was political. In the future the political may well become personal – more personal than any of us would like.

We Go Around in the Night And Are Consumed by Fire

July 7, 2016

wegoaroundinthenightJules Grant’s debut is possibly the best title of the year. Well – best title of the year. It’s narrated by a lesbian drug dealer out for revenge after her best friend is gunned down in a Manchester nightclub. Gangster vengeance isn’t the most original plotline and as sometimes happens in multinarration vernacular, peoples and times sometimes merge into one another in a way that perhaps wasn’t intended.

Still, it’s such fun to read, and the detail is bang on. As Irvine Welsh’s Leith hustlers hated authority in all manifestations (‘On the issue of drugs, we wir classical liberals, vehemently opposed tae state intervention in any form) so does Grant’s protagonist Donna tells us with pride that her father never paid a penny in tax nor claimed a state benefit in his life. Donna’s crew is also way more organised than Mark Renton’s band of brothers: she changes her sim card daily, and thinks of ever ingenious ways to smuggle drugs past nightclub security (including synthesising MDMA into aerosol hairsprays and charging pillheads a fiver per blast). Her eventual escape is genuinely thrilling.

It’s refreshing to read a Manchester crime novel that’s not stuck in the Gooch-Doddington wars of the 2000s, and Grant writes with a ferocious love of the city that wins her story a place in great northern fiction. That title doesn’t make sense as related to the story – except it reads like a snatch of graffito you might see on a flyover or tunnel or highway or byway on a city evening, something you might remember.

Young People With Weird Ideas: Emma Cline’s The Girls

June 25, 2016

emmaclineIn his biography of Charles Manson, Texan historian Jeff Guinn has a fascinating chapter on the Haight-Ashbury district of San Francisco that became a giant green beacon for outsider youth across America. By 1967 the area got three hundred new arrivals a day, from across the United States: ‘more runaways than any major city could have comfortably absorbed, let alone a relatively small neighbourhood… misfit kids, the ones with no social skills who had trouble making friends or fitting in back in their hometowns, or else were at critical odds with their parents and wanted someone more understanding to take them in and tell them what to do. The ones least able to fend for themselves were the most likely to stay.’

Emma Cline’s debut novel revisits the Manson cult from the twenty first century. Cleverly, her fictional narrative of 1969’s fractured summer does not dwell on the guru. Cline’s villain Russell is a bland opportunist just as Manson was. Instead she focuses on the stories of people far more interesting than he – the young people from good homes who embrace fanatical groups, the Manson followers who stole credit cards and dumpster-dived and allowed themselves to be pimped out for him. The young who kill and die for worthless leaders. Why?

For her narrator Evie Boyd the why is easy. She comes from a wealthy, lethargic Californian family directly out of Mad Men. Her idiotic philandering father leaves, and her mother disgusts Evie by simpering over a parade of sleazy unsuitable men. Evie’s life is a constant negotiation with the male gaze, from the potential stepfather who remarks ‘Fourteen years old, huh?… Bet you have a ton of boyfriends’ to ‘the older man who would later place his hand on my dick while he drove me home.’ Evie is attracted to the cult because – paradoxically, and ironically – it’s the nearest thing she has to a community of female solidarity. ‘Though I should have known,’ she reflects, ‘that when men warn you to be careful, often they are warning you of the dark movie playing across their own brains.’

Reviewing the book, Sarah Ditum identified ‘the specific indignities of girlhood – the dehumanising demands of men, the casual violence with which those demands are enforced, the constant ‘campaign for her own existence’ that every girl will eventually be defeated in.’ The fearful exasperation all women face at some point when dealing with stares and comments and gropes for Evie Boyd turns into a rebellious rage. And there is a deeper existential sense of being lost that is part of the human condition. There is no closure to Evie’s confusion: she’s just as disorientated as an adult, and barely even perceives that this experience is universal – she watches her apparently self assured younger relative Sasha with envy, imagining that ‘there were only one way things could go, the years leading you down a corridor to the room where your inevitable self waited – embryonic, ready to be revealed. How sad it was to realise that sometimes you never got there.’ Does anyone.

In her front story Cline has fun dealing with the ideological debris of the love generation. ‘People were falling into that kind of thing all the time,’ she explains to Sasha, ‘Scientology, the Process people. Empty-chair work. Is that still a thing?’ Later, drinking in a bar, they are approached by ‘another sixties ghost’ who ‘was convinced that world events were orchestrated by complicated and persistent conspiracies. He took out a dollar bill to show us how the Illuminati communicated with each other.’ When Evie asks ‘Why would a secret society lay out their plans on common currency?’ the sixties ghost can’t give a convincing answer. A distinct feature of twenty first century discourse is the progression of crazed ideology from the internet into mainstream conversation – venomous binaries about the Rothschilds, 9/11, chemtrails and voting pencils. ‘That the world had a visible order,’ Evie says, ‘and all we had to do was look for the symbols – as if evil was a code that could be cracked.’

The fractured summer of 1969 is today treated as a cautionary tale – what can happen when young people with weird ideas get out of control. Perhaps 2016 will be a testament to the crazy ideas of the old, which played a decisive hand in everything from the housing crisis to the Lehmans crash to Brexit. Maybe I’m reading too much into Cline’s novel, but The Girls made me think of something Christopher Hitchens wrote, towards the end of his life, that ‘when I check the thermometer I find that it is the fucking old fools who get me down the worst, and the attainment of that level of idiocy can often require a lifetime.’

Celebration of the Lizard: Sarah Perry’s The Essex Serpent

June 5, 2016

Cora Seaborne is bereaved but not unhappy. Her husband was a petty tyrant, and when the old fool finally checks out, she’s not exactly like the widow in The Importance of Being Earnest (whose hair, Algernon remarks, has turned ‘quite gold from grief’) but she does acquire a certain presence. Brilliant young surgeon Luke Garrett practically jumps through hoops of fire to get to her. Her arrival in the croft and coastal village of Aldwinter causes more comment and stir than the appearance of a newcomer from London normally would: even the parish vicar Will Ransome finds the widow Seaborne as attractive as she is infuriating. The Reverend is a late Victorian intellectual who tries to reconcile his faith with the nineteenth century’s escalating revelations of science. Cora is a passionate naturalist who rejects religion out of hand. In this passage of dialogue she illustrates both her philosophy and her recent liberation:

You wonder why I grub about in the mud – it’s what I remember from childhood. Barely ever wearing shoes – picking gorse for cordial, watching the ponds boiling with frogs. And then there was Michael, and he was – civilised. He would pave over every bit of woodland, have every sparrow mounted on a plinth. And he had me mounted on a plinth. My waist pinched, my hair burned into curls, the colour on my face painted out, then painted in again. And now I’m free to sink back into the earth if I like – to let myself grow over with moss and lichen.

This last line almost pre-empts Henry Miller, who declared in Tropic of Cancer that ‘I have nothing to do with the creaking machinery of humanity – I belong to the earth! I say that lying on my pillow and I can feel the horns sprouting from my temples.’ Aldwinter is convulsed by rumours of a giant snake-beast that is set to slither from the ocean and eat the townspeople in their beds. Farmers hang skinned moles by the coast to keep this monster away; there are episodes of mass hysteria; every relic deposited from sea to shore is a potential threat. The suspense is dimmed by our realisation that if the Essex Serpent does really exist, it is Cora herself, sea born and reborn. ‘I’ve freed myself from the obligation to try and be beautiful,’ she says. ‘And I was never more happy.’

As Naomi Frisby says, The Essex Serpent is a book that is not so much read but inhabited. The period detail is exact and discreet, the atmosphere like coiled smoke, the writing (‘Time was being served behind the walls of Newgate jail and wasted by philosophers in cafes on the Strand’) almost rivals Shirley Jackson. The book is clearly written as one of those historical novels that are a beguiling mist you can lose yourself in. Reviewers have responded in near-Victorian raptures.

Happy as we are wandering in the lovely fog of Sarah Perry‘s prose, it doesn’t cover the book’s flaws. The inner city London scenes are very well done, and inspire some of Perry’s best writing (‘Rooms were sublet, and sublet again, so that what constituted a family had long been forgotten, and strangers bickered over cups and plates and their few square feet of space’) but these passages don’t seem to fit with the story because the story is driven by Cora and Cora has decamped to Aldwinter’s gothic seaside. The housing crisis is meant to chime with modern times, and Perry reminds us in an afterword of contemporaneous ‘accounts of housing crises, venal landlords, intolerable rests and political chicanery; they would not look out of place in tomorrow’s newspapers’ (oh, you don’t say?) Cora and Will are compelling but not enough attention is paid to the supporting cast. Aldwinter eccentric Cracknell is a blathering sibyl straight out of Lovecraft, and with equally silly dialogue (‘Though of what I might be scaring off there mightn’t be knowing now nor later I daresay, when a voice is heard of weeping and lamentation for our children’ etc) Cora’s son Francis is a strange and distant child, but we know this because the other characters keep telling us, not because Perry shows us.

Cora’s friend Martha seems to have no purpose other than to exemplify the Victorian female activist – oh, and she deus es machinas the rent crisis of Perry’s London chapters to a respectable conclusion. At times The Essex Serpent almost reads like a rehabilitation of the Victorian era. Perry recommends in her afterword Matthew Sweet’s Inventing the Victorians, which ‘challenges notions of a prudish era enslaved by religion and incomprehensible manners; rather, he shows us a nineteenth century of department stores, big brands, sexual appetites and a fascination for the strange.’ All very jolly I can imagine, but let’s not forget that such fascinations were largely frowned upon: Georgina Howell in her biography of Gertrude Bell reports that even at Oxford women had to seek special permissions to attend lectures and sit exams as late as 1886, for fear that ‘overtaxing’ of the female brain would lead to ‘the deficiency of reproductive power’.

I read Perry’s debut After Me Comes the Flood last year and fell in love with it: it’s the kind of mystery story, at once traditional and new form, that you can spend your life rereading and puzzling over. With The Essex Serpent Perry has gone for something rather more conventional: she has discovered the power of the Victorian novel – and its limitations.

theessexserpent

All Tomorrow’s Aurora Parties

May 17, 2016

sunlightpilgrimsLet’s face it, there’s something liberating about the apocalypse – that’s why end-times literature sells so well. Imagine being able to walk around a near-deserted shopping precinct and loot all the latest electricals. Imagine singing bad karaoke to an empty O2 Arena. Imagine the peace and speed of the morning commute. With no work at the end of it. There is something endearing about the apocalypse – and perhaps no more so than in Jenni Fagan’s The Sunlight Pilgrims.

In Fagan’s end-times book the catastrophe is caused not by plague or zombies but plain old cold. Fagan has the rare gift of being able to write about climate change in a way that is realistic but not didactic. The radio says: The entire planet is being impacted upon by the collapse of intricate weather systems that are vital to survival… As of today, the Prime Minister has released a statement saying people must stop panicking, but it seems the public do not agree. It sounds like exposition, but it doesn’t read that way. Fagan’s story is set in the remote Scottish town of Clachan Falls. The local Ikea becomes a food depot, news crews show up in town, a man freezes to death, the sun goes down at four, then three, then half two, darkness swallows the earth. There is panic on the radio but not in the story. Although there is the familiar argument that every now and again the planet needs a break from humanity – Fagan’s theory is that the ice age is a kind of insurance against our troublesome genus – people don’t stand around asking why such terrible things are happening and what does it all mean. Winter isn’t just coming, it’s right here, and the people of Clachan Falls bear it philosophically. The Sunlight Pilgrims has the tone of a very cold, dark January evening spent indoors with a bottle of wine and Beth Orton on the stereo.

The main focus is on the characters. Dylan is an arthouse picture house owner fleeing creditors in Soho, who reaches the Clachan trailer park because his mother had strange roots there. Stella is a teenage kid looking to transition (the topic of male-to-female gender reassignment is handled with great sympathy and style) Constance, her mother, who never married but had alternate relationships with two other trailer park men who are still very much part of the equation. It’s a fascinating landscape, but Fagan is at her best when she just lets her characters talk. ‘We know that dark matter is all around us in the universe, if we can even feel it out there,’ Stella says, ‘and as we all know, goths have a direct line to any source of authentic darkness’. So does Jenni Fagan.

Borderpolis: Inside the City of Thorns

April 11, 2016

cityofthornsAt some point in the last two or three decades, immigration became something it was impossible to have a reasonable conversation about. It is a domestic and international issue that has been politicised and magnified beyond reasonable conversation. The right doesn’t like immigrants because it thinks they erode British culture and drain welfare capital. The left doesn’t like immigrants because it thinks (on dubious evidence) that they take British jobs (and also, refugees cannot always be trusted to express constructive opinions of the absurd religions and nasty, thieving dictatorships that so many leftists in the UK support). Neoconservatives worried that immigrants had too much potential to be radicalised and become terrorists. And there are also some people who don’t like immigrants because they have racial prejudices against people from foreign countries or with different colour skin.

A sense of raging unreality replaced the reasonable conversation. A few reasonable voices demurred. Centrist leader writers quoted from economic studies, Quakers worried about the humanitarian consequences of indefinite detention and deportations. But the raging unreality created its own compelling discourse, so that immigrants can drain the welfare state and take British jobs, can reshape English communities and fail to make a social commitment to the ‘host country’, refuse to learn English and simultaneously speak it far too well. When the crisis came, when thousands drowned in the Med, a few reporters wandered around Calais for a few days, but still the focus of the debate remained on the impact of immigration upon the UK. The public sector mantra ‘no decision about us, without us’ never applies to migrants. What doesn’t get asked is: who are the refugees? Why are they coming? And what are they running from?

Ben Rawlence spent four years, on and off, in the Dadaab refugee camp on the Kenyan/Somali border – one of the many grey zones and process centres that are created, and expand, when the rhetoric of the open world meets national protectionism. The camp complex is funded by the UN, is the size of a small city and has existed for generations. Somalis ran there fleeing warlordism, starvation and al-Shabaab. (It took some guts to do so. Rawlence explains: ‘The camps lie seventy miles inside Kenya across the barren scrub of the border country and the crossing is dangerous. The police in Kenya jokingly refer to undocumented Somalis as ‘ATM machines’. Rape is routine.’) Once inside the camp, accommodation and work are scarce: refugees make a pittance shoeshining, or selling khat from a stall. (The UN also has an ‘incentive worker’ scheme where people the National Security Council designates as Islamists in embryo, risk their lives detecting and defusing al-Shabaab IEDs.) The common situation of the migrants doesn’t guarantee solidarity. Rawlence meets numerous refugees whose lives have been put at risk after falling in love with someone from the wrong religion or tribe. How do you imagine a refugee camp? It’s not Buchenwald. It’s more like an open-air prison – complete with beatings, headcounts, hustles, desires, hatreds, segregations, and plots to escape.

If the city of thorns is a prison, parole is extremely difficult. Migrants crowd around the UN building daily to check the few resettlement slots that become available. For those without nous or connections to get moved up the list, the wait can last generations. Some people can’t handle the wait, and sign up with a trafficker. ‘If you get a good one,’ a restless young man told Rawlence, ‘you can reach quickly and safely’. If you don’t get a good one, you can die in a broken-down hotbox truck in the desert, or be ransomed back to your relatives by corrupt cops. Even if one escapes by lawful means, freedom can be short lived. A man Rawlence met, named Fish, came to Dadaab feeling a civil war in ’92 and eventually made it to Nairobi, but had to head back to the camp when the Kenyan authorities cracked down… and ‘cracked down’ in Nairobi meant more beatings, arbitrary detentions and rapes.

Just like in prisons, a listlessness takes over, drains thought and energy. People spend whole days chewing khat, or creating Facebook photos of imaginary lives in Europe or America. There is a Dadaab word for this feeling, buufis, ‘the name given to the longing for resettlement out of the refugee camps. It is a kind of depression rooted in an inextinguishable hope for a life elsewhere that simultaneously casts the present into shadow.’ The emotional detail is typical of Rawlence, who narrates City of Thorns in terms of the complex relationships and inner lives of the people he meets there. The flailings and machinations of various governmental and NGO bodies, as they try to deal with unprecedented eruptions of globalisation and war, he recounts briefly – and perhaps with a little dark irony. (Rawlence is particularly scathing on the corporate aid agencies: ‘At five o’clock sharp, they left their cool offices and their computers glowing with warnings and got into their cars…. through the streets wet and slick to some house party or restaurant glittering with laughter and money, and the lights of the city sparkled in the puddles.’) Mainly, Rawlence gives his voice to the voiceless. As Fish says: ‘We talk, but our voices are never heard. We move, but only inside a cage. We have many skills and talents, but we are denied our chance to maximise our potential’.

Wolves of London: Finding The Actual One

January 31, 2016

isysuttiePossibly the best TV comedy of the new century, Peep Show, ended last month. It was a bittersweet experience as a TV fan as I had followed the show from its first episode in 2003 – had grown up with Mark and Jez. In the last series you tend to lose sympathy for the El Dude brothers – as Robert Webb said: ‘It was a show about two young men sharing a flat and it’s become two middle-aged men sharing a flat, which is a different level of sadness. I think it was getting too sad.’ The madcap romantic-stalking schemes and defiant slackerism has a different edge. Always a reactionary outsider, Mark at this point comes off as a toxic individual who messes with people’s lives for personal gain. But at the end of the series his plans come to nothing and he sits in the ruins of another party with Jez on a nearby sofa going ‘I’m so tired’. Turning on the TV, Mark sees a feature about the reintroduction of wolves to Britain – yet another sign that the world is going to hell. ‘What next? Bring back smallpox? We all had fun with the smallpox, didn’t we? Is it time smallpox had a reboot?’ The show ends with an ominous wolf howl.

All this sounds like a roundabout way of talking about Isy Suttie‘s book. Sure, the comedian was in Peep Show and in the book she even repeats one of the show’s classic lines – ‘men with ven’ (plural for ‘man with van’). But it has a similar theme – the difficulty in staying young forever. You stop thinking in academic years and start thinking in financial years. Party shots fall off your newsfeed, and are replaced with endless pictures of misshapen-looking babies. Couples move out of the shared house and buy homes in charmless suburbs that their children will spend an adolescence trying to escape. When Isy Suttie’s best friends decide to get a mortgage and a family, she makes a bet that she will find a life partner – the Actual One – within a month.

That’s the premise, at least – the narrative itself is mainly a bunch of anecdotes loosely strung together, reminding me of Richard Herring’s Warming Up blogs, an exercise where you just start writing to get the creative brain in gear, drill down into any observational material and pummel concepts to death. It’s not a bad way to write, and Suttie makes it work – waiting at a GUM clinic, she sees some rowdy lads in their twenties: ‘It was like a youth club where one of them might have to inconveniently pop off and have his dick looked at in a moment, but soon he’d be back to merrily pelt Minstrels at a leaflet stand.’

In the book, she has just got out of a relationship with a man so insensitive he forgets, within days, about the giant papier-mâché penguin Suttie builds for him. She adds ruefully: ‘As it turns out, if you decide to make a papier-mâché penguin for your partner to try and save your relationship, the raw materials will cost approximately £180, and the reaction will be vague.’ Later she goes out with a man she meets at a party in Dalston who lives on a boat and speaks entirely in rhyme: ‘My name’s Joe, I live on a barge, you guys look like you like it large!’ There’s not a lot of dating and romance in here though – Suttie breaks off mid way through these encounters to tell a long anecdote from her childhood or student days.

More interesting are her memories of struggling to make it as a comedian and musician straight out of drama school. Doing the Edinburgh Festival on no money and no profile, travelling hundreds of miles for a few moments’ exposure, getting wrecked until 5am with squaddies in a Portsmouth drinking basement – these are fantastic passages and the book could have done with more material about making it in a classically male dominated world. The Actual One is funny, wise, discursive, even twee in places, but the howl of the wolf echoes through it none the less.

 

Tales of the Missing: Kirstin Innes’s Fish Net

November 15, 2015

Fishnet_270I was prepared to be disappointed by this book. When curious about people with outsider status – immigrants, sex workers, prisoners, benefit claimants – the novelist’s temptation is to make victims, victims of sex workers in particular. Not a bit of it though. It’s easy to write victims. Kirstin Innes has worked a lot harder.

Fish Net focuses on Fiona Leonard, a single parent whose sister, Rona, has dumped a baby on Fiona and then walked out of her life. For years Fiona has been searching for her missing sister. Then a drunken chat with an old acquaintance at a wedding gives her a lead: that Rona may have got involved in the sex industry. It so happens that Fiona is currently temping at a company which is negotiating the development of a drop-in centre where working girls can hang out and get advice and check out the ‘ugly mugs’ gallery of clients you want to avoid. The local authority wants to bulldoze the drop-in and build a leisure complex to attract investment. Furious prostitutes demonstrate outside the company offices. Sympathising with their situation, and still investigating her sister’s disappearance, Fiona befriends them and is drawn deeper into their world of the missing.

Again, the big strength of Innes’s novel is that she refuses to see her characters as victims – or at least not just victims. Fiona meets a Polish escort named Anya who is in the business to work off her international students. She tells Anya: ‘I don’t understand how my sister – how anyone ends up doing this.’ Anya replies:

This question, it comes from a place where for a woman to work in the sex industry, it’s shameful, wrong… What you know is horror stories of rape and powerlessness, that teach us to prize our virtue, to keep our legs closed, that nice girls don’t do things. What you think you know is stereotypes about drug addiction, about desperate girls out there on the street. About the bodies that they find, whenever some fucking lunatic goes on a killing spree. And yes, this is all there; I am not stupid as to say to you these things don’t happen, and that they are not awful, but it is not a complete picture… what people call ‘the sex industry’ is not always, not completely, a bad thing. That just because a person sells their sexual skills, it does not mean that their life is – bam! forever ruined.

But it is hard for people in the UK to get past this shameful place. People aren’t accustomed to seeing sex as a transaction. With an increasing puritanism regarding pleasure – smoking, alcohol, junk food – coupled with a backdrop of sitcom prurience, we live in a culture where sex is sacralised and magnified and blown out of all proportion. (The fanatics who killed 129 in Paris this weekend apparently did so because it was ‘the city of prostitution’.) I remember watching an episode of Borgen where the fictional Danish PM Birgitte Nyborg has to make a hard choice about the criminalisation of sex work. She listens to women who have been abused as well as sex workers who are concerned that criminalisation would put their lives in danger. The episode struck me because you couldn’t imagine such a mature debate on this subject in Britain, fictionalised or not.

Fish Net has a raucous scene where Fiona attends a meeting at the drop in. A well-meaning representative from the council explains that in consolation for the closure of their local base, the local authority will help sex workers to leave the trade. ‘We believe that no woman should have to suffer the degradation of prostitution for a moment longer,’ the council officer declares. Rather than welcoming this, the sex workers are enraged. They feel patronised and see the council as putting their livelihoods and safety on the line. Even the brilliant and capable Anya is almost ruined forever by a tabloid sting related to the development (with a op eed titled ‘City’s vice girl shame: is immigration to blame?’)

Innes explores not just the degradation of prostitution but the degradation of modern life. Her respectable world is characterised by boring jobs, crap sports bars with glass walls, tedious get-togethers, unfulfilled wives and parents, screaming children and lairy guys on the make. Fiona becomes more impulsive and unpredictable, and enjoys winding up those she sees as increasingly part of a dull surface world. Yet Innes does not look down on her hapless straightlifers. She understands that some people do need to be rescued – hell, sometimes all of us need to be rescued. And she will make you re examine your beliefs.

Sheer Society: Liza Klaussman’s Villa America

June 11, 2015

I came to Villa America as fiction. It seemed so rounded. The first section has main protagonist Gerald Murphy, as a child, having his pet dog driven from home by his awful family. His father warns him: ‘That is something you must learn, Gerald… You and your brother. To decide to do something and then follow it through to its end. That’s how they built that. That’s how anything worth doing gets done.’ It’s a heartbreaking chapter, full of dark sadness and the general horrors of parents and childhood – you wonder, where is Sredni Vashtar in real life, when you need him? ‘You are a wicked woman,’ Gerald tells the governess responsible, ‘and I don’t care what anyone says. From this moment on, I will never, ever speak to you again.’

The section ends like this:

And despite his parents’ exhortations, he kept his word. Like the men who built the skyscrapers, he decided to do something and he followed it through to the end, because that’s how anything worth doing got done.

Three weeks later, Gerald was shipped off to boarding school.

As an adult, Gerald ends up working a dead-end job at his useless father’s business, and regularly visited by what he calls the ‘Black Service’ (such a better term for depression than the clichéd black dog). His life changes when he meets and marries Sara Wiborg. Requited love propels him into a better career as an artist, and the bulk of the novel follows their family life on the European villa of the title.

It’s an almost surreal sequence of dappled sunlight, long lethargic days, displaced Russian princelings, and emotional, sybaritic houseparties – sheer society, in the couple’s private language. Recognisable names turn up out of nowhere. F Scott Fitzgerald is the battered faun we recognise from Hemingway’s A Moveable Feast. Hemingway himself is just as you’d imagine him, aggressive and self-assured and dropping characteristic sentences of cryptic hardboiled vicarage wisdom (‘There are all sorts of reasons a matador can be second-rate… But the good ones, the ones that are second-rate not because of cowardice or weakness, they’d rather die than live that way.’) Zelda is… Zelda. It’s the surreality of utopian dreams. As Klaussman told the Independent:

There’s definitely the idea of making an idealised version of America in France. They were going to change the world. They left behind their country, which they found disappointing politically and culturally, and arrived in a place destroyed after the war where they could rebuild a Utopia for themselves.

For it’s only when I reached the author’s afterword that I realised that the Murphys were real. Gerald’s paintings still hang today and his life is resurrected through biographies and correspondence. Their story is said to be the inspiration for the Divers in Tender is the Night. ‘That Gerald Murphy struggled with his sexuality is well documented through letters he wrote both to Sara and to friends,’ Klaussmann writes. ‘However, what exactly that struggle consisted of is unknown.’ Enter the entirely fictional character Owen Chambers, a pilot with whom Gerald has an affair.

But in a book so beautifully written, particularly in the epistolary passages, the dialogue, and the expression of desire (for Owen, standing near Sara is ‘like standing near a warm fire in a cold room’) he’s the only part of the book that doesn’t satisfy. The character feels grafted on somehow. Maybe it’s the strain of writing about a world full of old taboos from a world that’s exhausted its taboos and busies itself trying to invent new ones.

(Image: Tumblr)

An Eternal Return Enmity

May 27, 2015

kissingangles‘People, time and time again, have the same reactions and feelings to situations,’ says Sarah Fletcher in her interview with the writer Kayo Chingonyi. ‘Love. Family. Death. It’s why we still read the old guys.’ Her collection Kissing Angles is mainly about relationships – mainly, dysfunctional ones. Handling aggressive males: when the boy in ‘The Matador’  kisses the narrator, ‘His tongue feels like a whip’, the man in ‘The Judgement’ ‘smirked and pulled me in, administering the Bible-black conviction of his kiss.’ Other young men are just really dull. The poem ‘Lads’ describes ‘one in a thousand boys called Ollie, repeating tales about the time they spent in Radley’. The collection, Fletcher says, is about ‘the same kind of eternal ‘enmity’ between man and woman, as if some sort of innate power struggle.’ She talked of finding a ‘feminine equivalent’ of classic male rage: ‘a voice expressing rage and self destruction and perversion and frustration’.

Fletcher’s voice in Kissing Angles isn’t exactly raging. But it’s witty, succinct and sarcastic. ‘In the next room, the boys are handed condoms from Miss Miller, told they are gods if they want to be,’ she writes in ‘Sex Education’. There’s a big preoccupation with gender inequality and body image here – Fletcher has a fascinating piece on Lana Del Rey, also at Dead Ink. And there is also a great reach of imagination. ‘A Villanelle with Two Endings’ creates a brilliant sliding-doors pair of realities, side by side, final rather than gimmicky. ‘You hold my hand, and hold our child’s too./(The bleeding will subside. I leave the room.)’ Fletcher even climbs into Eva Braun’s strange head. ‘Nor did I know that there were women far beneath me who would have to sell their wedding rings for water while I could rinse my ringless fingers in fresh Riesling.’

This is a brief, lovely collection – maybe too brief, more like a pamphlet than a volume. Sarah Fletcher is a great talent but she should give herself more space. Kissing Angles has a rare weakness in a debut anything – it’s too damn short.