A romance?

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William Boyd

If I were to describe someone as a romantic, what would you think? Someone who makes elaborate, loving gestures towards someone inevitably referred to as “my inamorata”? Someone who appears in, or writes about, medieval romances? A member of a school of poets from the early years of the 19th century? Or perhaps someone who lectures upon such poets? For William Boyd, the title is bestowed upon someone whose life happens to overlap with the latter days of those same poets, though his own involvement with them is tangential at best. And beyond that his life, while far from prosaic, is not exactly romantic; and his love life, as such, tends to the functional. But he was there, someone who, by chance or more commonly by misadventure, finds himself caught up in the fringes of the great events of the age.

Boyd has, of course, done this before, what he calls a “whole life novel” which is presented as the life story of someone who stands as a representative of a particular historical period. Most famously, I suppose, he did it in Any Human Heart, though I think he did it better in The New Confessions and Sweet Caress, and you get something of the same character in Love Is Blind. In this case, The Romantic of the title is Cashel Greville Ross, though at different times he goes by other variations of the name. Born in 1799 and dying in 1882, he thus serves as a representative of the 19th century, taking us from the romantic early years to the more businesslike later years.

Ross is raised in a small cottage on the outskirts of a great estate in rural Ireland, where his “aunt” is tutor to the daughters at the big house. It is only when circumstances force them to leave Ireland for Oxford that he discovers his so-called aunt is really his mother, and his father is the owner of the Irish estate. The revelation disconcerts him enough that he runs away from home, lies about his age, and joins the army, only to find himself a drummer boy at the Battle of Waterloo. Typically, he is wounded even before the battle is properly joined, though the fact that he was at Waterloo gives him a prestige he will enjoy throughout his life.

Recovered from his wounds he joins the Indian Army, but is forced to quit when he refuses an order to take part in a massacre. After that he sets out to journey around Europe with the intention of writing a travel book. While in Italy, he makes the acquaintance of a Mr and Mrs Williams and their companions, Mr and Mrs Shelley, and through them he is introduced to Lord Byron. He becomes a part of their circle for a few weeks, even beginning an affair with Clair Claremont, but then Shelley is killed in a boating accident and Ross is there when the body is cremated on the beach.

After this he begins a torrid affair with a beautiful woman who is married to an elderly Italian aristocrat. He abandons her when he is fed lies about her motivations (though in truth her subsequent career, marrying one rich aristocrat after another, suggests there is something of the gold-digger about her). Ross regrets this impetuous action immediately, and throughout the rest of his life she will be the model of the perfect woman he seeks to find.

He does indeed write his travel book, and it becomes a best-seller because of the scenes with Byron and Shelley. He also writes a fictionalised account of his erotic adventures with the Italian aristocrat, which is published anonymously and also becomes a notorious best-seller. But he is cheated out of the money his books have earned by the publisher, and ends up in prison for debt. From this moment on the book acquires an almost mechanical structure: achievement and reversal, riches and poverty. Freed from prison he goes to New England where he has bought a farm. He marries the daughter of a neighbour, but she goes mad; and his assistant realises that the hops that grow wild on the farm can be used to brew an excellent lager. But no sooner has this business started to make money than he is forced of his farm and flees back to England. With a companion from the Indian Army he sets out to find the source of the Nile, but his companion dies, all his scientific observations are lost in an accident, and his discoveries, including being the first white man to reach Lake Victoria, are appropriated by John Speke who follows in his footsteps. Back in England, Ross sets out to discredit Speke, but when Speke dies from a self-inflicted gunshot that Ross suspects may actually have been murder, he flees again. Now a dubious acquaintance from his past reappears and offers him the unlikely position of Nicaraguan Consul in Trieste, which Ross takes because there is a steady guaranteed income. But it turns out that this is a cover for a major operation in antiquities smuggling, which Ross is able to smash with the aid of Speke’s old companion, Richard Burton, who is now the British consul in Trieste. After this, Ross must flee again, fearing revenge, and spends his final years hiding out in rather seedy circumstances in Venice, until he dies on a trip to be reunited with his old aristocratic lover.

There is a lot of story here, and Boyd is scrupulous in fitting the life of his fictional character into the historical events of the period: Waterloo (1815), the death of Shelley (1822), the search for the source of the Nile (1856), Speke’s death (1864), Burton’s diplomatic posting in Trieste (1872). But as I said, the episodic nature of the story and the mechanistic feel of the win-lose structure, makes it feel less of a whole than something like The New Confessions or Sweet Caress. there are lots of good bits in the book, but they don’t necessarily cohere into a good whole.

The Mysterious Disappearance of Benjamin Black

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Benjamin Black, Georges Simenon, Graham Swift, John Banville, William Boyd

I first came across John Banville sometime in the mid-1970s when his novel Kepler came out. I bought the hardback, loved it (I reviewed a subsequent reprint of the book), and since then I have read just about everything he has written. There are few contemporary writers I keep up with as assiduously I do Banville (Graham Swift and William Boyd come to mind), but his work is incredibly various. The historical ones, (Kepler, Doctor Copernicus), were vivid and convincing; his novel based on Anthony Blunt, The Untouchable, is sharp and engaging; but others, such as his Booker Prize winner, The Sea, seem to me so etiolated that you have to fight your way through a fog of allusive prose to find out what didn’t happen.

I have seen Banville speak a couple of times, once specifically on Georges Simenon. I can’t think of two more different writers than the author of The Sea and the author of Maigret, and yet there was an obvious connection between the two. So it was no great surprise that he started writing crime novels under the pseudonym Benjamin Black, starting with Christine Falls in 2006. The Black novels are hardly Simenonesque, the prose, while tighter than some of his John Banville novels, is still a lot looser, more elaborate, than you are likely to find in Simenon. But in these novels plot is to the fore, and they are indeed good plot-driven stories.

Most, though by no means all, of the Benjamin Black novels feature an alcoholic Dublin pathologist, Quirke. And they are interconnected in the way that they use the crime as a way of digging into the abusive control of 1950s Dublin society by the Catholic Church, and the corruption of the political class sheltering behind the power of the Church. This is an impoverished, grey Dublin where the physical and sexual abuse of children in Church-run orphanages and schools is an accepted part of life. There are few if any characters in the Benjamin Black novels who are not in some way damaged by the very society they inhabit.

Banville made no secret that he and Benjamin Black were one and the same. The books tended to declare on the cover: By John Banville writing as Benjamin Black. It was rather like the difference between Iain Banks and Iain M. Banks: the two names allowed the author to take different liberties with their writing.

Then, a year ago, a new John Banville novel appeared: Snow. And it was a crime novel, indeed it was a very distinctive Benjamin Black novel, yet the name Black appeared nowhere on it. It was a crime novel set in 1950s Ireland, and though there is a new central character, the rather austere and lonely protestant, Detective Inspector Strafford, Quirke does get a passing mention. And it is a novel that features corruption in high places, and the malign influence of the Church.

Now there is what is advertised as a new Strafford novel, April in Spain. Only Strafford doesn’t even appear until more than half way through the book, and even then mostly plays a supporting role. The central character is Quirke, and the story itself is a direct sequel, set four years later, to the third of the Benjamin Black Quirke novels, Elegy for April (2011). In that earlier novel, incest within the family of a prominent government minister results in a boy admitting to murdering his sister, April, and then committing suicide. Now, reluctantly on holiday in Spain with his new wife, Quirke encounters a doctor at the local hospital and recognizes her as April.

Quirke immediately telephones his daughter, Phoebe, who had been a friend of April’s. Phoebe tells the Dublin police, who arrange that Detective Inspector Strafford should travel out to Spain with her to confirm the identification, and to try to discover why her brother had confessed to her murder. But Phoebe also tells April’s uncle, the cabinet minister, which is why a one-time associate of the Kray twins is also heading out to Spain with a gun.

This is not a novel in which mysteries are solved, which I suppose brings it closer to earlier John Banville novels. But truths are uncovered, political repercussions are felt, and there are tragedies. It is a gripping novel, I read it in a day which is something I haven’t done much of recently.

Curiously, I notice that the John Banville Bibliography on Wikipedia does not list Snow, and counts April in Spain as a Benjamin Black novel, which it explicitly is not. Clearly some people are still confused by the identities of Banville and Black.

Openings

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Adam Mars-Jones, Christopher Priest, Graham Swift, Ian McEwan, Julian Barnes, Kazuo Ishiguro, Leonard Woolf, Lisa St Aubin de Teran, Martin Amis, Pat Barker, Philip Norman, Rose Tremain, Virginia Woolf, William Boyd

The first of the Book Marketing Council’s “Best Young British Novelists” promotions in 1983 came at an odd time. The British publishing industry was struggling, mostly due to outdated methods, and a quick and dirty fix was needed. Hence the promotion. And it worked. Well, it did for me at least. Christopher Priest was the only one of the featured writers whose work I was already familiar with (by this time I’d read Philip Norman’s book on The Beatles, Shout!, but I’m not sure I associated the Philip Norman featured in the promotion with the author of that book), but I read the associated issue of Granta cover to cover (one of the few times I can say that of the magazine) and discovered a good handful of writers whose work interested me. For a while after that I would religiously buy each new book by Pat Barker, Julian Barnes, William Boyd, Kazuo Ishiguro, Adam Mars-Jones, Ian McEwan, and Graham Swift. I’ve read, with pleasure, the occasional novel by Rose Tremain and Lisa St Aubin de Teran, without consistently following their work, and though I’ve tried the occasional book by Martin Amis I’ve never really got on with his writing. Over the years, I stopped following most of these writers (Ishiguro I dropped quite quickly, then picked up again later and do now follow him). So today only Boyd and Swift are writers whose new work I religiously buy and read.

Which brings me to the latest William Boyd novel, Trio. What I like about Boyd is his storytelling, which is why it is no surprise that along the way he has written a couple of very effective spy stories. He does come up with some quite arresting metaphors and descriptive passages, but in the main his prose can be a little pedestrian. But his control of pace, revelation, drama, is powerful enough to keep you reading even if the writing might limp a little. Even so, I was a little startled by how flat the opening of this novel seemed:

Elfrida Wing stirred, grunted and shifted sleepily in her bed as the summer’s angled morning sun brightened the room, printing a skewed rectangle of lemony-gold light onto the olive-green-flecked wallpaper close by her pillow.

Yeah, that reads like someone trying too hard, like a writing-class exercise in stuffing as many descriptive words as possible into a single sentence. Then you turn the page to the start of chapter two (the chapters are short in this novel, mostly only two or three pages, which is one reason that the lumbering, over-emphatic description feels too much), and you read: “Talbot Kydd woke abruptly from his dream.” Then another couple of pages and another chapter begins: “Anny Viklund woke up and, as she did every morning as consciousness slowly returned, she wondered if this day was going to be the day that she died.”

Three successive chapters beginning in exactly the same way: the full name of the character followed by a description of them waking up. It is laboured, repetitive, and it is hardly the most inspired or inspiring way to introduce the three central characters who make up the Trio of the title. I’ve come to expect fancier footwork than this from Boyd, even at his most pedestrian.

We are well over half way through the novel before it begins to dawn on us what Boyd is doing here. Elfrida is an alcoholic one-time novelist who hasn’t written anything other than fanciful titles for never-to-be-written books in over ten years. At the height of her fame, and to her perennial disgust, she was always called the new Virginia Woolf. It doesn’t help that she can’t stand Woolf’s work, which may be one of the reasons why she stopped writing. But now, between drinks of vodka from the countless old Sarson’s Malt Vinegar bottles she has stashed around the house, she gets an idea for a new novel, one that will lay the old ghost while getting her back into print: She will write a novel about the last day of Virginia Woolf.

Inevitably, she gets no further than the first paragraph, which she rewrites over and over again. A typical example reads:

Virginia Woolf was sleeping. On the wall by her bed a pale parallelogram of lemony early-morning sunlight crept towards her face. When the sunlight hit her eyes, she grunted and turned over, but consciousness had indisputably dawned in her brain and was urging her awake.

The openings of the first three chapters are all variations on the opening of the Virginia Woolf novel. Elfrida herself grunts and shifts with the lemony light. Talbot’s dream figures in several of the putative openings, and his own story that follows will take the form of an awakening to a clearer understanding of what is going on around him (he is a film producer out of step with the modern world of the late-1960s, coming to terms with his own homosexuality, and also coming to recognise that his trusted partner is defrauding him). And Elfrida’s various opening paragraphs always end with Woolf recognising that “this was going to be the last day of her life”, echoing Anny’s own premonition. Anny is a young American film star brought to Britain to add cachet to the film Talbot is currently producing, but she also brings with her a host of troubles, mostly initiated by her former husband who is now a wanted terrorist, and the more she tries to run away from things the fewer places she has to turn, until the story does indeed end in her death.

So we have it: the three interweaving stories that make up this trio are all variations on the last day of Virginia Woolf. Elfrida herself is, of course, the most Woolf-like. At one point, frustrated that no publisher wants the novel she is planning (1968, when most of the novel takes place, was the nadir of interest in the Bloomsbury crowd) and beginning to suffer from DTs, and therefore in a mental state closely resembling that of Virginia Woolf in March 1941,she buys a secondhand fur coat, stuffs stones into the pocket, and plans to march into the Ouse near Woolf’s home at Rodmell. A farcical intervention stops this happening, and she ends up drying out in a religious establishment outside Taunton.

If Elfrida offers the closest parallel to Woolf, Talbot and Anny are the more engaging characters. This is because Elfrida has been defeated, knows it, and is complicit in her own downfall. Talbot and Anny are both bemused by events but are still trying to keep ahead of the game. Talbot succeeds, Anny doesn’t, perhaps ending as Woolf herself did (thought there is an unresolved mystery here), but at least there is more sense of them playing an active part in their own lives.

Thinking of Elfrida, I wonder how Boyd pitched this novel to his publisher. Things have moved on since 1968, the Bloomsberries are fashionable again, so to that extent he had an easier job. But still: “It’s a novel about the last day of Virginia Woolf, only it is set in 1968 and Woolf never appears.” Actually, Leonard Woolf is seen at a distance once, still living at Monk’s House and irrascibly chasing away would-be sightseers. In the end it’s a clever book, but perhaps more clever than good, a satisfying intellectual confection rather than something more engaging.

Oblong

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Ian McEwan, Martin Amis, William Boyd

William Boyd, of course, would never think of giving one of his books such a dull title. Would he? But several times during the course of his new collection of short stories, The Dreams of Bethany Mellmoth, one or other of his characters will have written a novel, or a film script, or some such endeavour, called Oblong. It is clearly a joke, but not a very funny one.

The real joke is that Oblong would probably have been an appropriate title for the collection. It would, at least, suggest something of the continuity between the stories that he seems to be striving towards but signally fails to achieve.

These are, after all, virtually without exception, stories about novelists, film makers, art dealers, or would be members of such professions. Boyd has, himself, of course, experience in all three areas, so there is an insider feel to much of what we get here. But insider feel alone is not enough.

I hold Boyd in high esteem, he has remained one of the most consistent and reliable of the novelists of that generation. While some of his contemporaries, Martin Amis, Ian McEwan, have become dull or irrelevant or self-satisfied, his work has tended to remain fresh, engaging, and well worth reading. Some of his novels (I would pick The New Confessions, The Blue Afternoon, Any Human Heart, and Sweet Caress) are, I think, particularly good. What makes them good is that Boyd is interested in story; there is always a strong plot thread running through his work which keeps us interested in the drama of what we are being told. Which may be why he is also so effective as a screenwriter and even as a director. The cross-over effect is obvious in his fiction not in the usual way, the jump cuts and dialogue that can make so many recent novels read more like film scripts, but in the way he focuses, the way small things acquire significance.

Unfortunately, he has never carried those talents into his short fiction (there is one exception in this collection, but it is an odd exception and I will come to that later). This is the third or fourth of his five short story collections that I have read (if I read On the Yankee Station it was so long ago that I have forgotten all details, hence the hesitation; the collection, The Dream Lover, I know about only because it is listed with his other works in this volume, I don’t recall ever even seeing a copy). And I think the fact that I persist is a perfect example of the triumph of hope over experience: I always expect better of Boyd, I am always disappointed.

Boyd simply seems to have forgotten the importance of story in stories. Instead he indulges in some overly familiar formal literary experimentation. One story of a relationship is told backwards from break-up to first meeting, adding nothing to the countless times we have seen exactly the same thing before. There’s a story told in diary entries, in which each of the diarists witness the same event, interpret it differently, and never fully understand what actually happened. Another story is told entirely through unsent letters. Actually this one is curious, an opportunity missed. Epistolary fiction is, of course, just about as old as English Literature, so the fact that the letters are unsent seems like a novelty, giving vent to rage and frustration. However, so much of the short fiction here is built around that good old typically English emotional experience, embarrassment; so if the letters had been sent the story could have acquired another emotional level as the author then rowed frantically back on his accusations and self-justifications. Maybe not; my thoughts turned this way only because I found the unsent letters themselves so unsatisfactory as a story.

When he is not playing with form, Boyd’s stories tend to be concatenations of vignettes that are vaguely linked without ever really seeming to form a whole. The prime example here is the longest piece in the book, the novella, “The Dreams of Bethany Mellmoth”, which describes a series of brief encounters over two years in the life of a young woman. Bethany drifts from boyfriend to boyfriend, doomed to be disappointed by each one in turn and head back home to mother. She drifts from dead-end job to dead-end job, usually acquired through her mother who seems to be extraordinarily rich and well connected (this is not unusual, most of the stories are about rich and well-connected people, or people who move freely in such circles; it is an achingly middle class book). She drifts from artistic aspiration to artistic aspiration: at various times she is going to be an author, an actress, a photographer, a singer, without ever making much effort to pursue these aspirations. And at the end she drifts away from the story, and we re left to wonder what that was all about.

Occasionally, Boyd seems to respond to some atavistic memory that there is supposed to be story in here somewhere. Thus in “Humiliation” a novelist gets revenge on the critic who savaged his latest book by feeding the critic a tainted oyster, which somehow feels more petty than dramatic.

In all of this, Boyd remains a fine writer. On a sentence-by-sentence level the work is engaging; the problem is that the sentences don’t seem to add up to anything. But there is, as I said, an exception: the very last piece in the book, a novelette called “The Vanishing Game: An Adventure …”, which, after what had gone before, I fell upon with cries of joy (so one does vaguely wonder whether the contrast makes it seem more, but I dismiss such thoughts as irrelevant). The story begins, oddly enough, with a quotation from Isaac Asimov; I wouldn’t have Boyd pegged as an Asimov fan, and there is certainly nothing science fictional in this or anything else he has written.

This is, in all honesty, a piece of nonsense that never quite makes sense, but it is also a story of constant action and intrigue somewhat in the manner of The Thirty-Nine Steps. The narrator is a second rate actor who makes a living appearing in cheap action films where he is usually the one who gets bumped off. He has been burgled, his car has been damaged, and his latest audition has turned into a fiasco. Then he is offered £1,000 in cash to drive a car up to a remote village in Scotland. He is happy to accept the offer, but ten suspicious things start to happen. He spots the same hitchhiker at different points along the journey; he realizes he is being followed by a mysterious black car; and so on. Then, when he gets to the place where he is supposed to make his delivery, he finds the woman who hired him apparently dead, though her body has disappeared by the time he gets the police to the spot. What follows is a fast-paced adventure set in a bleak Scottish moor. What makes the story is that the way he responds to each new threat, and the complicated plans he puts into effect to solve the puzzle are all derived from the cheap thrillers he has appeared in. The effect is both ludicrous and gripping, in fact the whole thing would make a good comedy drama for TV; indeed, I wonder if it wasn’t originally pitched as such. It is not as subtly done as the spy novels he has written, Restless and Ordinary Thunderstorms, and the resolution doesn’t quite work, yet the story stands head and shoulders above everything else in this collection precisely because it is a story.

Swift’s Atonement

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Graham Swift, Ian McEwan, Julian Barnes, Martin Amis, Pat Barker, William Boyd

Of that generation of mainstream writers who were brought to prominence by the first of Granta‘s Best Young Writers promotions, I steadily lost interest in most of them over the years. Amis fils fell away after just a couple of books, I managed four by Pat Barker before losing interest, it was pretty much the same with Julian Barnes, and the last few novels by Ian McEwan were so dull that the most recent has been sitting on my to-be-read pile for a couple of years without me ever feeling like opening it. Only William Boyd and Graham Swift have, for rather different reasons, stayed the course: I enjoy the historical sweep of Boyd’s novels at his best, and the narrow focus of Swift’s at his best.

Reprint: Scientists

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Angela Carter, C.P. Snow, Carter Scholz, Charles Dickens, Charles Harness, Clifford D. Simak, Connie Willis, Don DeLillo, Frank Herbert, Gregory Benford, Iain Pears, Ian McEwan, Ian Watson, John Banville, Jonathan Swift, Lucius Shepard, Michael Crichton, Nancy Kress, Pamela Zoline, Piers Anthony, Rafael Carter, Roger Zelazny, Russell McCormmach, Thomas More, William Boyd

Another of my Cognitive Mapping columns. This one first appeared in Vector 211, May-June 2000.

Reprint: Throwing Away the Orthodoxy

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Aldous Huxley, Arthur C Clarke, Bob Shaw, Brian Aldiss, Christopher Priest, Ed Bryant, Eric Frank Russell, Eric Rohmer, Gardner Dozois, George Orwell, George R.R. Martin, Graham Greene, Graham Swift, H.G. Wells, Ian McEwan, J.G. Ballard, Jack Dann, Jerry Pournelle, John Clute, John Fowles, John Jarrold, John Sladek, Kazuo Ishiguro, m john harrison, Martin Amis, Olaf Stapledon, Peter Ackroyd, Philip K. Dick, Rebecca West, Richard Cowper, Roz Kaveney, Thomas Huxley, Thomas M. Disch, William Boyd

I’ve written a lot about Chris Priest over the years, and most of it has ended up in What It Is We Do When We Read Science Fiction or Call And Response, but there is one major piece that hasn’t been reprinted. It is this interview I did with him in 1999, not long after the publication of The Extremes and The Dream Archipelago. The interview was first published in Vector 206, July-August 1999.

THROWING AWAY THE ORTHODOXY
A conversation about sex, innocence and science fiction

Paul Kincaid:  Let’s start at the end. You have just brought out all the Dream Archipelago stories collected in one volume. Why have you gone back to that?

 Christopher Priest:  Well, there’s a bad reason and a good reason.

Let’s have the bad reason.

Bamboo

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William Boyd

Bamboo by William Boyd – an overlong collection of his essays and reviews. I would have edited this down quite severely. There are several weak pieces, particularly early in the book, which makes it difficult to keep reading at times. There are multiple pieces on certain subjects (most notably Evelyn Waugh and Ken Saro Wiwa) which contain far too many repetitions, and would have benefitted from being edited in a single piece. And there are too many essays that employ the most irritating trick of his short fiction: the A-Z list. I hate these in his collections of short stories, and I hate them just as much here. But all that being said, there is still an awful lot of really good stuff here. Some of the pieces on Waugh, for example, do make you wish he had done a longer and more serious analysis, and there is a wonderful little essay about a visit to a one-horse town in the American South inspired by a Wallace Stevens poem. He is an accomplished book reviewer (within a fairly narrowly defined range), and his art criticism is both fresh and engaging (as you might expect from the author of Nat Tate.

First published at LiveJournal, 2 May 2007.

Four books

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Damien Broderick, Jon Courtenay Grimwood, Willa Cather, William Boyd

Another catch-up.