Tag: male writer

SHUGGIE BAIN by Douglas Stuart

About ten pages into this book, I felt like I was getting into a hot bath. I just got ready to seriously relax. It’s exactly the sort of book I like: one that gives you a break from your own life, by deeply involving you in someone else’s.

It tells the story of a little boy being raised on some quite rough council estates by his alcoholic mother. I would bet heavy money that this book, while marketed as fiction, is based on the author’s own childhood. There is a certain subset of books in which the detail of daily life is so vividly captured that it can only come from a child’s eye, and ideally a child with a ton of trauma. It’s Glasgow in the 1980s, a place and a time I’ve never given a second thought to, and now I feel like I have a real experience of it. It joins such bizarrely disparate periods as Trinidad in the 1950s (courtesy, A HOUSE FOR MR BISWAS) and the Dominican Republic in the 1960s (courtesy, FEAST OF THE GOAT read on a particularly hallucinatory 12 hour bus ride to Acupulco).

I won’t go on about everything I thought was wonderful about this book, but let me just leave you with this:

The other taxi drivers had taken on that familiar shape of men past their prime, the hours spent sedentary behind the wheel causing the collapse of their bodies, the full Scottish breakfasts and the snack bar suppers settling like cooled porridge around their waists. Eventually the taxi hunched them over till their shoulders rounded into a soft hump and their heads jutted forward on jowled necks. The ones who had been at the night shift a long time had turned ghostly pale, their only colour was the faint rosacea from the years of drink. These were the men who decorated their fingers with gold sovereign rings, taking vain pleasure from watching them sit high and shiny on the steering wheel

And that’s just taxi drivers! Imagine everything else that’s in there

THE SUBTLE ART OF NOT GIVING A F*CK by Mark Manson

Here is an example of how a great title does half the work.  Though the author’s point is not so much that we should not give a f*ck, but rather that we should only give a f*ck about what we give a f*ck about.  Easier said than done, in my experience. I often find myself getting riled up about things that I know I do not care about.  In any case, the book is refreshing in its emphasis that there is no life without problems; the point is to choose the right problems. 

I also thought this was useful:

If you want to change how you see your problems, you have to change what you value and/or how you measure failure/success.

Here his point is, don’t measure success too much based on things you cannot control, e.g., the approval of others, promotions, etc. Rather focus on things you can control, e.g., doing your best.  Associated with this is what you should measure yourself on:

Redefine your metrics in mundane and broad ways. Choose to measure yourself not as a rising star or an undiscovered genius. . . .  Instead, measure yourself by more mundane identities: a student, a partner, a friend, a creator. . . . (You should) define yourself in the simplest and most ordinary ways possible. This often means giving up some grandiose ideas about yourself: that you’re uniquely intelligent, or spectacularly talented . .  . This means giving up your sense of entitlement and your belief that you’re somehow owed something by this world.”

I can’t say it’s the best written or most insightful book I’ve ever come across, and admittedly I lost it in an Uber before I finished it completely, but that said I enjoyed it. 

STORM OF STEEL by Ernst Junger

Here is a book about how bad things can get.  It’s the dairies of a man who signed up on the the day the first world war began, and, incredibly, made it all the way through to 1918.  The Somme, Ypres, Cambrai: he saw them all. 

The book was published in 1919, and it shows.  Most of the other books of this period were written at a remove of at least a decade or so, but in this one there has been no time to make sense of the war, or to do anything but just tell us what happened.  It is in parts boring, as war is boring, and in other parts horrifying.  As far as I can tell, no one whom he personally knew with whom he began the war ended it alive with him. 

It is deeply revolting.  Here he is on a patch of land that has been fought over repeatedly:

In among the living defenders lay the dead.  When we dug foxholes, we realized that there were stacked in layers.  One company after another, pressed together in the drumfire, had been mown down, then the bodies had been buried under the showers of earth sent up by shells, and then the relief company had taken their predecessors’ place.  And now it was our turn. 

He is on the German side, and is, as ever, extraordinarily depressing to see how very similar their war was from their alleged ‘enemies’ on the other side.  He is even reading TRISTAM SHANDY in the trenches.  Towards the end, though, his war does differ from that of English accounts I have read, because he is of course, losing, and he knows it.  They start to run out of food; they are no longer sleeping in trenches, but in craters; and still he goes on. 

With every attack, the enemy came onward with more powerful means; his blows were swifter and more devastating. Everyone knew we could no longer win. But we would stand firm.

He is clearly losing it.

A profound reorientation, a reaction to so much time spent so intensely, on the edge. The seasons followed one another, it was winter and then it was summer again, but it was still war. I felt I had got tired, and used to the aspect of war, but it was from familiarity that I observed what was in front of me in a new and subdued light. Things were less dazzlingly distinct. And I felt the purpose with which I had gone out to fight had been used up and no longer held. The war posed new, deeper puzzles. It was a strange time altogether.

It is in this context that he goes into his last battle.  His company takes a direct hit, and twenty some young men are killed right next to him.  Then he goes on for hours, fighting, sobbing, singing.  At one point he takes off his coat, and keeps shouting  “Now Lieutenant Junger’s throwing off his coat” which had the “fusiliers laughing, as if it had been the funniest thing they’d ever heard.”  He cannot remember large stretches of this last battle.  At one point he stops to shoot an Englishman, who reaches into his pocket and instead of bringing out a pistol brings out a picture of family.  Junger lets him live.  He kills plenty of others though, including one very young man:

 I forced myself to look closely at him. It wasn’t a case of ‘you or me’ any more. I often thought back on him; and more with the passing of the years. The state, which relieves us of our responsibility, cannot take away our remorse; and we must exercise it. Sorrow, regret, pursued me deep into my dreams

And all this while HE KNOWS THEY CANNOT WIN.  Guys, I would have deserted long before, and I am not even ashamed to say it.  Honour, like courage, are concepts generally deployed by rich people to get you to do what they want.  I can’t think of almost anything for which I would die.

NOTHING TO SEE HERE by Kevin Wilson

This was a re-read of this marvellous book about income inequality and spontaneous human combustion.

I didn’t love this the second time round as much as the first. But this still has me loving it more than most books. This time round what I concluded is that what makes it remarkable is the quality of the voice of the narrator. It’s weirdly, painfully, contemporary and disillusioned.

Try this, about her efforts to get a scholarship to a school for rich kids:

I didn’t know the school was just some ribbon rich girls obtained on their way to a destined future. . . . . I wasn’t destined for greatness, I knew this.  But I was figuring out how to steal it from someone stupid enough to relax their grip on it.

I won’t write up the whole book again; the first read is here. If you are looking for something to read, I recommend it.

THE LAST PICTURE SHOW by Larry McMurtry

In this book some teenage boys have sex with a blind cow. And this is not even the climactic center of the book. Apparently this is just part of normal small town life in Texas. The author is famous for his novels that draw on his own upbringing in small town Texas, so I guess this is based on true events. This just goes to show you what I have always thought, which is that small towns are not charming as people try to claim, but in fact dangerous and creepy. (See also scarring movie WICKERMAN, but only if you want to be scarred.)

“We could go on down to the stockpens,” Leroy suggested. “There’s a blind heifer down there we could fuck.” . . . . The prospect of copulation with a blind heifer excited the younger boys almost to frenzy, but Duane and Sonny, being seniors, gave only tacit approval. They regarded such goings on without distaste, but were no longer as rabid about animals as they had been. . . In the course of their adolescence both boys had frequently had recourse to bovine outlets. At that they were considered overfastidious by the farm youth of the area, who thought only dandies restricted themselves to cows and heifers. The farm kids did it with cows, mares, sheep, dogs, and whatever else they could catch . . . It was common knowledge that the reason boys from the diary farming communities were so reluctant to come out for football was because it put them home too late for the milking and caused them to miss regular connection with the milk cows.

IS HE JOKING. At least in the play EQUUS this kind of thing is given the dignity of being a major plot point. Here it’s not. This story is about this young man, Sonny, who is graduating high school. He is having an affair with a middle-aged woman who is in a marriage people casually assume is abusive. (Sample: “I don’t understand how Mrs Popper’s lasted,” Duane said). Sonny drops her the second the local popular girl shows an interest. It’s a sad as it sounds. As a middle-aged woman myself, it fills me with renewed gratitude to be alive now, with my own income and my own Tinder if I want it.

Even all the side plots are sad: he falls out with his best friend, who then blinds him in one eye (?) before heading off to fight in Korea. The only apparently positive figure is the local poolhall owner, Sam the Lion, who looks after a young disabled boy called Billy (you don’t want to know how he is involved in the cow thing). Then he dies. Because this is the kind of book this is. It’s so sad it gets into the ridiculous. Everyone was lonely , everyone was not getting enough sex, or getting the wrong sex, or etc. Life is not all sad, just like it is not all happy.

Larry McMurtry is a great writer, so still I enjoyed it. But if you’ve never tried him, I recommend you start with his Pulitzer winner LONESOME DOVE (which this blog tells me I read a solid ten years ago)

EARLY WORK by Andrew Martin

This is my third reading of this amazing book (first two are here and here). This time round I re-read it to try and understand how it works. I hoped to understand something about the mystery of good writing, but I am left even more mystified than before. It is so WONDERFUL. How did Andrew Martin DO it? Every other line is funny, and the remainder are either touching or insightful. Did it take him ONE THOUSAND YEARS? A further mystery is this, WHY DON’T MORE PEOPLE LOVE IT? Like how can it be that someone can write such a near perfect novel and the world not close down? That’s the arts for you, I guess. You achieve something near impossible and nobody much cares.

AN OBEDIENT FATHER by Akhil Sharma

I had to give up on this book because it was just too believable. It tells the story of a child abuser, from the perspective of the child abuser. Fiction exists to help us understand others. This is a noble goal. But I guess I just don’t really want to understand all others.

In theory, I suppose we all agree that everyone’s human. Like, even Hitler. And Ted Bundy. And I guess I’ve read quite a few books from the perspective of dictators and serial killers, which I’ve never found it too revolting before. This one though: wow. It’s enough to make me wish there is a hell, so that fathers who rape their children can go there.

As I debated whether or not to give up on this book , I spent quite some time thinking about why it was so unreadable. I think its because at least a serial killer, you think, okay, you are crazy. You are working out some mania. And dictators, okay, they kill people, but at least they are like obsessed with a greater Deutschland or whatever. This guy: he rapes her for a while, and then when he gets caught he stops. So he’s not a maniac. He just wanted to rape her and so he did.

Anyway, I feel gross just writing about it. If you think you can stomach it, though, I will say it is startlingly well written, just like Akhil’s previous book FAMILY LIFE). It’s set in India and in addition to the abuse is also a grim look at how unavoidable petty political corruption is. God no wonder I had to quit.

FIND ME by Andre Aciman

Never ever read the sequel to any novel you have loved.  I take this as a general rule. There’s a risk that what you found heart-breakingly unique is in fact a tired old trick of that particular author, and the novel you love will be tainted in retrospect. I broke this rule by reading FIND ME, a sequel to the wonderful CALL ME BY YOUR NAME, and yes, it was a big mistake.

CALL ME BY YOUR NAME is the story of  Elio, and his teenage infatuation.  It a powerful and terrifying story of the one who got away.  In FIND ME, the father of Elio, who is in his fifties, meets a beautiful twenty-something woman on a train, and they begin a wild romance. 

I mean, okay.  I’m not saying this could never happen, but for sure in this telling it seems unlikely.  Even if you assume a lot of unspoken daddy issues, there is just no way a 24 year old is referring to some old guy’s penis as a ‘lighthouse’ and listening to him talk awkwardly about Goethe.  I don’t want to be super harsh, but it kind of read like an extended and slightly pitiful exercise in wishful thinking by a middle-aged man.

Part way through the book we go back to Elio himself, who is now in his thirties.  And there I had to stop.  So far it had just been such a lot of unmotivated and unlikely drivel, I just couldn’t face the character being polluted by more of the same.  So luckily I can’t tell you how it turned out.

WAR AND TURPENTINE by Stefan Hertmans

Here a man uses his grandfather’s actual diaries to recreate life in the early twentieth century.  It starts off interesting – for example, we learn how many very specific scents are lost to us.  Here he is on his great-grandmother:

Her black apron – he called it a pinafore – smelled like the offal of young rabbits

Horrifyingly specific.  Then we get into flashforwards, where we follow the author around modern day and very dull city of Ghent.  Things go rapidly downhill. It is not easy to write about the book you are writing.  Emmanual Carrere manages it, but few others can, and certainly not this writer.  Enjoy:

. . . I would scarely recognize the area.  Wild geese, a few sluggish swans in the polluted riverside mud, nervous moorhens in the black, oil-soaked mire.  Damaged nature, memory.  Pom-pom-pom, pom-pom-pom.  Humming, I walk out of the old cemetery.  But in the twilight, as I revel in the adagio strains of Edvard Grieg’s ‘Ase’s Death,’ that superlative mourning music for a dead mother, I see, in my mind’s eye, the old phantoms far above me, flickering titanically on the walls of a cave, blown up into eerie shapes by the light of a fire beyond my ken.

This is where I stopped.

FAMILY LIFE by Akhil Sharma

You wouldn’t think there was any more space left in the world for another novel of the American immigrant experience.  Apparently there is, and here it is. 

FAMILY LIFE is about a boy who moves from India to the US with his family as a child. 

The charm of the novel is Sharma’s creation of a child’s eye view of the world, direct, assured, sometimes kind of racist.    Here’s two pieces on his father:

I used to think my father had been assigned to us by the government.  This was because he appeared to serve no purpose. 

And:

While my mother was interested in status, being better educated than others or being considered more proper, my father was just interested in being rich . . . Because of my grandfather’s problems, my father had grown up feeling that no matter what he did, people would look down on him.  As a result, he cared less about convincing people of his merits and more about just owning things.

The family are on the path of hard work and immigrant grit when his SPOILER ALERT older brother is in an accident that leaves him brain damaged.  Things get much harder from there.   Side point,  I love this:

Weeks passed.  The weather got colder.  The days tipped backward into darkness.  Some evenings our house and street appeared dark while the sky was light.  In October the trees shed their leaves, and our houses stood undefended on its lawn.

He works hard in high school, has a girlfriend, goes on to university, and becomes a miserable investment banker (is there another kind?).  I liked this thought on his girlfriend:

Minkashi lives in Texas now.  She is an accountant.  This surprises me because you always expect people who matter a great deal to you to end up leading glamorous lives

A really good book. I shall look for his other novel.