The old placeholder version was a little too rough and ready, and this suits the bill much better. Is anything ever finished, or should we just move on?
All books are available at the bookshop.
The old placeholder version was a little too rough and ready, and this suits the bill much better. Is anything ever finished, or should we just move on?
All books are available at the bookshop.
As the end of the reading and writing year is upon us, I have been considering the content of my various reviews over the past twelve months. What follows is an admittedly lengthy piece but one which, I trust, can be returned to or read in sections: it is a piece that can be analysed in itself, certainly. The collection of sixteen titles reviewed in 2014 forms just a proportion of total reading content in the past year; however, the reviews that have been inspired by these books do offer the opportunity for this writer to further engage with the process of writing. To be better writers we must continue to read, to analyse, and to learn.
What follows is a review of the reviews of those sixteen titles. The salient aspects of each review have been republished in this post, re-worded for greater clarity in some cases, and roughly categorised (anonymising here, for the most part, regarding comment references to particular authors). The intention is that each comment can stand alone as a point of reflection for writers in consideration of their own work.
This review of reviews has been a process of reading, analysis and synthesis in itself. It embraces various short story collections, novels, novellas, and a form of travel-journal. Twelve authors’ works are included, namely: Alexander Solzhenitsyn, Diego Marani, Javier Marías, Gabriel García Márquez, Christopher Burns, Tove Jansson, Esther Freud, Jack Kerouac, Haruki Murakami, Cees Nooteboom, Ben Okri, and Bruce Chatwin. The original reviews can be found via the left-hand side bar.
The review points to follow offer this writer some food for thought. I trust that they can do likewise for you too.
• The author tries to deliver as much hook in the first paragraphs of his stories as he can.
• There is an interesting opening idea and we settle down to the potential unwinding of this mystery.
• However, the author’s story is soon cluttered with irritating pretensions of cleverness and, half-way through, a disorientating shift in scene altogether.
• The ever-increasing reading hope that the author’s opening line will, at some point, amount to something fails to materialise.
• Something may be happening. A reader must care.
• A story not entirely believable might be forgiven (a reader might go with the flow).
• The author exercises skill at immersing the reader in his places, characters’ situations, and in moments in time.
• He has the ability to sink the reader down into the fabric of the book, the place and person in the print.
• Moments of magic realism left unnurtured cause some reading dissatisfaction.
• What we are left with is something that lingers, certainly.
• Of a collection engaging with semi-autobiographical material: we can suspend our imaginations for a certain period and indulge in the idea that pure fictions are present, but at the back of the reading mind is the knowledge of something different taking shape.
• The effect of the story must strike true enough.
• Obscure literary references: some are more easily comprehensible than others.
• Also avoid the relentless and frankly irritating insistence of including foreign language as the primary source of much dialogue, followed by English translations or vice versa (as if to say, grandiosely, ‘look I speak French/am French and how superior I must be’).
• The gracelessness of the exploration is a growing agitation in the read.
• The author’s meandering, sometimes unfathomable writing style jars repeatedly.
• It is the rambling, unintelligible, non-contextual aspect of the author’s writing that is the most bafflingly frustrating.
• Having reached the half-way stage of the book, still so far so possible. However, here the author throws the reader completely. Now, at the start of the second half of the book, we find that the main character is somewhere and somewhen else. It isn’t at all clear what is going on.
• A reader doesn’t often like to be taken from one story and placed in what appears to be the middle of another without forewarning.
• The main character narrates several excruciating pages of pretentious classical-mythological analogy.
• This book is a lengthy poetic indulgence for the author, which might well have been delivered better in more succinct and shining ways.
• Whilst it remains fine to meander, some of the tellings of tales appear, to this reader, questionable in authenticity.
• The author meets and references a great many people in his exploration, with noble attempts at drawing certain individuals with brushstrokes designed at impressing them into the memory, but the net effect is that of a general swathe and flow of a traveller’s acquaintances.
• The author offers up pages of excerpts from his previous notebook travels, some of which provide succinct pause for thought, but the overall effect rather spoils the narrative drive of the whole.
• Fictive suspension must be maintained.
• In a semi-autobiographical collection, writing as another gender disturbs the fictive flow: a certain degree of interest is lost because, in the context of the collection as a whole, this just does not fit; the nagging returns as to who is narrating here.
Brilliance and beauty
• Expertly describes bleaknesses and deftly describes raw power and beauty.
• Describes small slices of scenes with colour and delicate words.
• He has the succinct ability to pinpoint a description with a minute but significant object detail.
• The author does offer up moments of linguistic flourish.
• As delicate and as beautiful as an object found on a beach.
• A string of beautiful arrangements.
• In places, sprinkled with beautiful description.
• The author weaves in some beautiful imagery and sensory assemblages of market places.
• There are some small successes in playing with language.
• The author is capable of dropping in a fine and succinct line of thought.
• There are moments of quoted poetic beauty.
• Avoid jamming into a narrative apparent knowledge of the nuances of a subject matter in clumsy ways.
• The writerly device of a character narrating to the author a personal shared back-story tale (memories of place, times, objects) can feel somewhat clumsy.
• Do not set up titles for books by way of contrived conversations between characters.
• There is a proliferation of clumsy similes.
Identity of a book
• Pay attention to the potential for a crisis of identity (what is this book trying to be?)
• One story is confused in its descriptions, place, time, and reason for being.
• What is it that is the heart (not at the heart) of this book?
• The author does not seem to know what this book is: is it some discourse on metaphysical angst, an exploration of meta-fiction, detective-mystery magical allusion, or any or none of the above?
Body of work
• The practice of ‘writing on writing’ (as in building on the body of work), can be a useful device for development of the art form, but the body of work must have an integrity regarding its development (every writer’s quality of output will shift over time).
• A story might be ‘re-purposed’, by altering the title, character names and setting of a previous story.
• A story collection can form from ideas for a novel.
• ‘I had found what I needed to complete the book, what only the passing of years could give: a perspective in time’ — Márquez (the whole process took some eighteen years).
• Characters may be linked across the author’s body of work (there being a penchant for returning characters, as would seem to be the case).
• Names are used in dialogue to introduce characters, or to try to indicate who says what next. This feels somewhat amateurish.
• If we’re to immerse in the voices of characters presented to us, we need to be able to differentiate between those characters.
• Characters, Latin Americans in Europe, spring quickly from the page.
• The author has a penchant for the full name (immediately giving us some sense of a person; some feel for the possibility of a history).
• There are believable patterns of lives, though in sometimes slightly fabulous ways.
• The author seems to enjoy the ‘folding in’ of characters in his stories: a promising opening; offering us place and character and a rough idea of where those characters are heading in the piece; he folds in some extra details to give further colour to the whole, before often folding in further still by delivering some back story details to the personal histories of those characters.
• There is slight irritation in the author’s choices of flat, almost prosaic, character names: Simon, Peter, Mary, Andrew, Neville, Tony, et al (should we place our characters so blatantly in their landscapes by such choices, or can we afford to exercise more in the way of flourish and embellishment in this respect?)
• We bow down to the nature knowledge of one of the characters and suppose that it is true.
• None of the wisdom portrayed is dispatched in a holier-than-thou or preached manner.
• Can a character be seen as ‘a real child’? That is, it can be easy to slip into the trap of writing a child character in stereotypical sugary-sweet form; or, would an average child want to use words such as ‘aristocratic’ in speech?
• It is perplexing that a character referred to as existing on an island does not become in any way concrete for the majority of a book, and does not speak until three pages from the end. That he’s subtly eased off the frame of the page is a little off-putting.
• There are gradual interactions between characters.
• There is a concern though: little love can be shown to either of the main characters by the reader.
• A third character is the pivot, and the author has successfully sketched him in the neutrality that is required in order for the other characters to be as shaded as they are.
• Katri Kling, in her hardness, and Anna Aemelin, in her softness, have perfect names for their characters.
• In short story collections, surround a character by other stories that don’t make him/her jump out sharply from the whole.
• She exhibits a deep understanding of what it is to be child age.
• The author carefully and gradually draws a picture of the main character.
• Such is the author’s skill at writing from the younger child’s perspective (not in saccharine sweet stereotyped ways) that she manages to convince us of the magic of place at the same time as slowly unfolding the frustrating mother character.
• However, more psychological damage should have been caused to one of the child characters as a result of the mother character’s actions.
• Avoid extremely sketched and ridiculous stereotypes.
• The main character presents as a pretentious scholarly bore. Perhaps this is more accurately descriptive of the author himself though: the character and the author seem to share some aspects of their existence.
• The author surrounds the main character with a series of flimsily sketched other characters who mope about and stare off into the evening sky. Those characters are reminiscent, perhaps, of beginner writers’ early attempts at creating believable people: stereotypical, paper-thin, verging on archetypal.
• The author mostly eschews the naming of places and people (on one level, this works in the context of the formation of myth-making; on another level, as a novel-story, this is wholly unsatisfactory).
• Even more curious is that the author then deems it necessary to stamp a nickname onto one of the characters who washes in and out of the tale, and he names another who doesn’t stay long enough on the pages for character examination.
• This book includes a series of characters who are as airy or as liquid as the words the author lays down.
• The main characters mope through the pages of the book and nothing really happens for long, long periods.
• A flow of alternating dialogue — a collection of people and their overlapping conversations — although not difficult to follow, is clumsy in its execution.
• Dialogue here, in its relative scarcity, is unconvincingly poetically delivered: sometimes with torturous lack of reality, sometimes with torturous rhyme.
• Beware of writing that feels like after-thoughts, as a means of sewing up bits the author has neither the wit nor the inclination to think through as he goes.
• The author writes in a seemingly self-conscious manner at times, trying to fill in the holes he’s left, looking to smooth it all over and say to the reader how that’s all been cleared up, let’s move on.
• Avoid late and turgid long myth-tales as meandering excursions.
• The author’s long expositions build without any great pace or urgency to a point of frustration.
Twists and deviations
• Significant twists in some stories only serve to disturb the reader: the slightest of fictive cheating has taken place.
• That we gradually work out a time and place in any given story should work as a reward for our reading and connecting the puzzle pieces: when we’re shifted from that path, rudely as it were, when we’re walking comfortably along in the story’s authority, it risks unsettling us.
• Meta-fiction can be a dangerous game to play.
• When an author rides a vehicle such as ‘language’, a reader will inevitably find his thoughts turning to thoughts on language.
• The problem with the meta-fiction approach is at least two-fold: the reader becomes acutely aware of the writer’s thinking on writing, somewhat drawing the author as character into the piece, and the author needs to ensure everything he writes thereafter is faultless.
• There is consistently something lying beneath the surface in the author’s stories.
• The author’s writing appears to develop from conceptual inception, but the full depth of that thinking on the author’s part doesn’t always shine through.
• There are stories in this collection that aren’t so subtle or are laden and convoluted and which don’t reach the depths to which they might aspire. One, for example, is a messy stream of consciousness affair with no real focus; another is very slight and without great depth; another is a long and somewhat turgid exposition alluding to age.
• This is a tale that attempts to press some deeper concerns into the short- and long-term conscious process of the reader, but which falls short of this presumed target because of the shortcomings of its details.
• The story flows well enough, initially, but ultimately vagueness does not always result in depth.
• A poetic assemblage of no great solidity.
• It is a liquid flow of words which purports to meditative depths but, in reality, delivers a silted stodge to wade through.
• The idea is greater than the depth in its pages.
• There is undoubted complexity, as well as the poetic, and there is an accumulation of detail.
• Readability is let down by the author’s penchant for the occasional long and convoluted sentence.
• Consider syntax word orders of sentences and grammatical structures.
• Straighten out the incomplete sentences that tend to crop up.
• Avoid dense, impenetrable text.
• Markers are placed early on in stories and economically returned to later.
• There are recurring motifs.
• There is, however, a proliferation of partly constructed sentences throughout the book, which does have a tendency to distract the discerning eye.
• The author has presented, in short, a garbled concoction.
• ‘The end justifies the means’ is not a pretty means by any stretch.
• Stereotypical perceptions are to be avoided.
• This work is a fair percentage full of seemingly drunkard-penned ramblings in need of a good editorial savaging.
• It becomes apparent that the author either has a short attention span for maintaining motifs or anchor references in his story telling, choosing to introduce them and then just ignore them, or he has an inability to keep them in check.
• English translations may not accurately represent the nuances of the original language, but this work is peppered with incomplete sentences (the proliferation soon becomes cumbersome and annoying).
• He starts to warm to a new idea (or, if it’s been there all along, it’s been difficult to tell).
• There are clues on the opening page, but those clues are washed over in the reading because they come too soon.
• There is ambition of presenting a long mythic poetic prose tale which is not wholly achieved.
• At times the author’s writing feels like an exercise in poetic thesaurus development: he spins out his idea of the moment in tautological litanies.
• Do not replicate the author’s repetitive listed descriptions, for line upon line.
• Not for everyone: there is no definite plot, no narrative sweep of direction, no main crucible or conflict for the characters to navigate.
• The author’s story is a journey, though one without defined plot. This doesn’t matter because what we’re presented with is a tale of subtle love and frustration, abandonments, confusions, immersions and beauty.
• He spends time on his words.
• There is a predilection for certain favourite words or motifs.
• Precise, cut-glass, clear, clean prose. Hardly anything is wasted in the arrangements of words.
• For the most part, this collection is subtle, well-written, with the feel of care in construction, thought, considerations of structure and texture.
• There are some slender and beautiful juxtapositions in place.
• Juxtapositioning the prosaic and the beautiful can result in unexpected art.
• Sometimes it feels as if the author is crafting a piece, out and out, from a single kernel of an idea or from the delicate arrangement of one notion touched against another.
• There are some very deliberate structural arrangements/filmic qualities, in places.
• A book of love, a sculpting of character, enmeshing of characters.
• A book filled with clean, efficient, beautiful language.
• Despite its lack of plot or narrative direction, this book is built on love — a love of nature, for the island itself, for beauty, for characters.
• The author creates, perhaps with full intention, the overwhelming feel of something cold, winterstruck, and crisp yet troubling.
• There are layers that the author has, undoubtedly, deliberately stitched into this book.
• The ‘sketching’ process is one of the author’s signatures. She uses an economy of words which, for the most part, works well (we are left to think).
• The author’s contribution to the written form encompasses the crisp, the clean, the sharp, and the beautiful.
• One character’s long hoped-for return is a ghost that hangs in the pages throughout.
• Certainly there are ideas here that are worth creative investment of writing and reading, but the author rather spoils their shine with words for the sake of words.
Place and time
• The author’s travels have given him an eye for description of place and how that might feel for his characters.
• The author’s achievement here is to place this book in its own time, imbuing it with its own sense of memory.
• This is a book containing deliberate vast vistas and the occasionally succinct description of place.
Magic and myth
• The author deals with magic in such a way as to alchemise it into plastic.
• The author’s ideas might well be worth magic consideration, but his way of writing on them just brings the reader to the point of drifting off because of a lack of belief.
• A story needs anchoring in belief, even — or especially — if it’s the telling of the origins of myth.
• Avoid clumsy and unsatisfactory endings.
• On occasion, the author ends a story abruptly and seemingly on the cusp of an idea.
• Take care not to let a story peter out: the potential force of the tale fades.
• This collection ends with effective poignancy.
In the continuing discovery of translations of Tove Jansson’s various writings for adults, something becomes ever clearer: thirteen years ago the literary world lost a great talent. The twelve stories in this collection are, for the most part, absorbing, but significantly they mark a shift of form. It becomes evident that the stories collected in Jansson’s previously reviewed A Winter Book (Sort Of Books, 2006; from stories originally written between 1968-71 and 1991-98) are chosen specifically for the overall semi-autobiographical effect. Travelling Light (Sort Of Books, 2010; from the original Swedish Resa Med Lätt Bagage, published by Schildts Förlags Ab, Finland, 1987; English translation by Silvester Mazzarella) is a collection of characters other than Jansson herself, encompassing themes of disorientation, the balancing act of isolation and connection, and the inescapability of our ways of being.
Such wordiness is not becoming of Jansson’s fine clipped prose. Her characterisations tend to sit well and cleanly in the mind, even if sometimes given only a brevity of pages. Within this more eclectic range of people pressed into the lines, even the character in the title story seems more at ease: this piece also having been included in A Winter Book, Jansson’s first person male narrative there feels a little incongruous. Here, the character of Mr Melander is surrounded by other stories that don’t make him jump out sharply from the whole.
Also here, regarding characterisations in the Travelling Light collection, Jansson presents two elderly men, in The Hothouse, whose quiet squabbling over a bench used for reading and contemplation leads to some mutual respect and even longing; there is a well-drawn but loathsome child, in The Summer Child, who casts doom and gloom over his island hosts; a woman tends to an injured lover, following an unknown and unnamed external catastrophe in the rather prosaically titled Shopping, yet there is an edge of the psychological drama creeping in.
Indeed, it is this edge that is a welcome shift in Jansson’s writings (or in this reviewer’s readings of what has washed up on the shore of the desk to date). Elis, the summer child, certainly presents as disturbed but also as desperately and quietly missing something. Jansson writes:
Elis buried the grebe up near the road to the town where there had been a forest fire and there was nothing left among the tree stumps but willowherb; trust him to find a spot like that. He put up a cross with a number on it. Number one. Other graves followed — rat-trap victims, birds that had flown into windows, poisoned field-mice, all solemnly buried and numbered. Sometimes Elis would remark in passing about all the lonely graves that had no one to care for them. ‘And where is your own family graveyard? I’m interested. Do you have a lot of relatives buried there?’
In Shopping, Emily goes out at dawn whilst Kristian recovers from an injured leg, but there is the nagging feel that whilst she ‘shops’ (that is, loots), she also ‘keeps’ Kristian: is Kristian being told the whole truth there behind the boarded up window? In other stories, Jansson attempts the same feel but to varying degrees of success. In The Woman Who Borrowed Memories, for example, Stella returns to a studio apartment she used to live in fifteen years earlier and where, now, Wanda occupies the place. Wanda tells Stella that really it was she, Wanda, to have been benevolent to Stella in her parties there and not, as Stella believes as true, the other way around. There is an undertow, for sure, but Jansson does not quite set the tone as cleanly as she could have done. There is the motif of a more modern lift installation which recurs in the tale, but it doesn’t play itself out fully into enlightenment.
In The PE Teacher’s Death, Jansson has her characters arranged in a somewhat stiffly-put dinner date, deliberately drawn in the manner of received wisdom on social etiquette. Whilst some observations are succinct enough, the attempts at psychological disturbance fall a little short. Henri’s wife, Flo, wavers in her coming to terms with the eponymous character’s demise, an environmentalist, and with the social rigour of the occasion, at the house of Nicole, whose husband, Michel, a property developer, is away. The effect of the whole, however, doesn’t quite strike true enough. The same can be said for the lead character, Viktoria Johansson, in The Garden of Eden. That she is a professor visiting her God-daughter, who is suddenly called away, in Spain is fine enough; even that she begins to fall into all the social trappings that might appear in any other place does not perturb the reader: however, that Viktoria so readily manages to assume mediator role between two feuding women, and the delicate potential psychological nuances in the microcosm, feels a little out of kilter with believability.
In respect of disorientations, of sorts, in An Eightieth Birthday, young May and her partner meet a group of ‘real artists’. May is told:
In the whole silly business [of life], the only thing that really matters is passion. It comes and goes. At first it just comes to you free of charge, and you don’t understand, and you waste it. And then it becomes a thing to nurture.
Later, regarding a flowering bird cherry seen on their walk, May hears:
What can you do with something like that? Just let it flower . . . Look, here’s our lovely hostess! Isn’t that right — shouldn’t we just let it flower and admire it? It’s one way to live. Trying to recreate it is another. That’s what it boils down to.
It is a small nudge out of social ways they are otherwise expected to engage in for May and her partner, Jonny. In The Gulls, Jansson returns to island retreat territory in placing over-stressed Arne, child-like in his dependence on Elsa, far from the urban crowd. It is a transition Arne struggles with, and he seeks the love and patience of Elsa who, in her nature-knowledgeable ways, chooses to hide small pieces of the brutal real world from him. Jansson is really far more at home in this sort of landscape than in the urban territory. In A Foreign City, for example, small disorientation attempts aside, the reader feels as claustrophobic in the words as Jansson may well have done amongst the bricks and stones.
There is light, in The Forest, and love, in Correspondence (which also features in A Winter Book). In the former, Jansson relates a short tale of two brothers: the narrator assumes the mantle of father-figure to the younger boy, and though there are darknesses of child-fear here in the story-telling, there is also a deep understanding of what it is to be this age. Of the boys’ imaginings of being out, as Tarzan, Jansson writes:
When we came home to eat, Anna [the hired help] asked what we’d been playing and my son told her we were much too old to play. We were exploring the jungle.
‘That’s nice,’ said Anna. ‘You go right ahead. But do try not to be late for supper.’
Travelling Light ends with Correspondence: this being a collection of letters from Jansson’s young Japanese admirer, Tamiko Atsumi. The affect is just as powerful as is delivered by its inclusion in A Winter Book, and it’s fitting that this collection should end so poignantly. This passage, from the staccato English prose that peppers the text throughout, leaves the reader aching:
It’s been snowing all day.
I’m learning to write about snow.
Today my mother died.
It is love, it is light in both its forms, and it encompasses disorientation, isolation and connection, and — in Tamiko’s resignation that Jansson won’t receive her in Finland (Tamiko’s next line highlights a subtlety: ‘When you’re the eldest in your family in Japan, you can’t leave home and you don’t want to’) — there is also an inescapability of our ways of being.
There is no doubt that Jansson’s contribution to the written form encompasses the crisp, the clean, the sharp, and the beautiful.
Some accounts offer us the heightened middle of a life led: A Winter Book offers us the book-ends to Tove Jansson’s long life. Herein lie twenty stories dealing with childhood and older age; however, for the larger part, the reader is really engaging with semi-autobiographical material. We can suspend our imaginations for a certain period and indulge in the idea that pure fictions are present, but at the back of the reading mind is the knowledge of something different taking shape. The feeling is all the more succinct for this reader, having recently immersed in Jansson’s much acclaimed The Summer Book (1972, 2003) and her novel, The True Deceiver (1982, 2009). The body of work is like a succession of waves.
A Winter Book (Sort Of Books, English translation from the original Swedish by Silvester Mazzarella, David McDuff and Kingsley Hart, 2006) is, according to the introduction by Ali Smith, a combination of select stories about childhood from Jansson’s first collection (Sculptor’s Daughter; Bildhuggarens dotter, 1968) and a smattering of pieces from various later sources, translated into English for the first time. The stories span periods between 1968-71 and 1991-98: the latter being three years before Jansson’s death at the age of 86.
The reader must first accept the slow pace of the story offerings in this collection in order to begin the process of engagement (whether having read previous Jansson offerings or not). Each piece stands alone, but as the reader delves deeper into the pages, Jansson’s characters start to return to the shore, in the analogy: of course, here are the repetitions of Jansson’s parents, Signe (known as Ham, for Hammarsten) and Viktor, both artists, but here too are others such Old Charlie, sketched in to a few of the stories, before taking his leave again. This sketching process is one of Jansson’s signatures. She uses an economy of words which, for the most part, works well (we are left to think); however, perhaps a little more could have been offered in the economy of words that form some of the story titles: Albert, Jeremiah, Annie are titles that don’t frame the story offerings so well.
Fourteen of the twenty stories in A Winter Book are concerned with childhood. It is Jansson’s childhood and what soon becomes clear is the worldview of this child as inculcated by two artistic, Bohemian parents in the early 1920s or thereabouts, in Helsinki and the outer lying islands of the Gulf of Finland. Parties, for example, is an account of a child/Jansson who is subsumed into the culture of her father’s Bohemian gatherings, and her mother’s own art and engagement with these parties, and who doesn’t question any of this way of being: she just accepts it as the normal way of things. She writes as the child narrator, in concluding the piece:
I go to bed and hear Daddy tuning his balalaika. Mummy lights the oil lamp. There’s a completely round window in the bedroom . . . One can see out across all the roofs and over the harbour and gradually all the windows go dark except one. It is the one under Victor Ek’s asbestos wall. There’s a light on there all night. I think they’re having a party there too. Or perhaps they’re illustrating books.
Jansson’s mother was an illustrator. Added to this forming worldview, as written, are moments of understanding of childness, some succinct wisdoms extolled, and comprehension of the (ir)rational logic that children sometimes express. For example, in The Stone, the child narrator pushes a metallic-like object she’s found all the way home and up several flights of steps, believing it to be made of silver (silver, not gold, which will make her rich); there are wisdoms such as ‘a [male] friend never forgives, he just forgets, and a woman forgives but never forgets’, and the quiet Zen-like quality of ‘One always lands up somewhere. That’s important’; of the irrational — or rational — logic, in The Iceberg a child narrator articulates that, if no-one speaks about the iceberg that the family row past, then that iceberg therefore belongs to her.
Jansson’s accumulated wisdoms, as spoken through her child narrator, also include (in Parties), regarding breaking the day in gradually following a gathering, ‘One must be able to move about in peace and quiet and see how one feels and wonder what it is one really wants to do’, and (in The Dark) ‘It is terribly important to find a hiding place in time.’ In fact, this is another wave to gently form and break (in the reading realisation that this ‘hiding’ is a motif that finds its occasional return): Jansson is hiding from the world that troubles her — in the very real sense of her returns to her summer island retreat (as seen in The Summer Book), as well as can be assumed in her children’s books about Moominvalley and its own worldview, and also in particular Winter Book moments such as in Snow (in which a child/Jansson, and her mother hide away in a snow-bound country house, where the latter works at her art); in Flying (in which the child narrator imagines flying and effectively hides away on the ceiling); in The Iceberg (in which the child expresses a desire to climb into a small grotto on the eponymous ‘vehicle’ floating by).
In The Boat and Me, Jansson describes her older child self, defying her father’s wishes by taking a small boat out for a solo rowing trek around the islands. It is a process of hiding, in part, but it’s also indicative of the spirit of adventure, the love of raw nature, and a certain sign of the times. Jansson shows here how children just need to do things sometimes (‘I don’t know why it’s important’, implying that it just is), and tells of ritual and rite of passage in rowing all the creeks and headlands and seeing ‘her territory’ (land) from the vantage point of the sea.
Albert is related as a childhood friend, and the story also touches on the child logic: ‘[On the raft] we reached deep water, but that was alright because we had both nearly learned to swim.’ There is that spirit of adventure to the story of the child narrator and Albert setting sail and getting caught out by the fog, but there are also the child ruminations here on death and fear (the former being an area Jansson returns to in later life, later in the collection, but from a more world-weary perspective). When looking closely enough at the collection as a whole, we begin to see the way that nascent processes on death, as well as on love and beauty, art and play, begin to form.
In Snow, the child narrator/Jansson becomes anxious at the snow trapping them in their country retreat, but her mother stops working and tells her that they’re hibernating, and they play, and the child is overwhelmed with love for her because of all of this. In Annie, the housekeeper by that name has a tempestuous relationship with the child Jansson; the child admires Annie’s strength and beauty and Annie understands the state of childness when the child becomes anxious at them stealing bird-cherry flowers openly and brazenly (Annie acknowledges the child’s sense of ‘wrongness’ and introduces hiding into the act of theft). Later in the same story, Jansson describes how the child plays ‘house’ with the things left out for her by Annie, with a sense of duty, knowing that a better house could be built in a different room. In High Water, Jansson describes her father, a sculptor, and his love of- and inspiration gleaned from storms: so Jansson, the child, loves storms too. They are of art. It is another small incoming wave to tell of this child’s forming worldview, taken on from the adults around her. Jansson’s father seems to need purpose and/or to be someone in touch with the seascape. Perhaps this is also true of Jansson herself.
Flotsam and Jetsam brings these ideas of worldview, seascape, art or beauty together. Despite the story being a tale of the convoluted local rules of salvage and principle, we can see how the idea of ‘doing things correctly’ is forming. There is some degree of twisted correctness here in the tale, but there is the nuance that is with due concern to the process of art: art is in the doing. This can be further read in The Spinster Who Had an Idea, in which the eponymous regular summer island guest and would-be artist tries her hand at various art endeavours but then interrupts the almost sacred ritual involved in Jansson’s parents’ casting of plaster.
Art and play come together, in the interpretation, in Jeremiah, in which the child narrator/Jansson sees play as a kind of art form after meeting and being in attendance to (‘looking after’) a visiting geologist where neither speaks the other’s language and so the communication is in play. When a female geologist also turns up, it unsettles the play/art relationship. In The Spinster Who Had an Idea, the child ultimately struggles with the concept ‘what is art?’ and with her father’s interpretations of what this is to him (albeit unwritten, this is heavily implied).
There are stories in this collection that aren’t so subtle or are laden and convoluted and which don’t reach the depths to which they might aspire. The Dark, for example, is a messy stream of consciousness affair with no real focus apart from being the continued inculcated worldview of the child who believes her lot to be the way it is, perhaps the only way we can or should be. German Measles is concerned with jealousy for a pet monkey and about having a guilty conscience. As such, the tale is very slight and without great depth. The first of Jansson’s later writings in this collection, The Squirrel, is similarly somewhat lacking. Despite the occasional succinct observation, such as Jansson’s insight into words placed face down overnight (‘because if words lie face down there’s a chance they might change during the night’), The Squirrel is a long and somewhat turgid exposition alluding to age: the routines and fixations of an isolated old woman who hides away (between her island’s rocks, in her bed), who potters with unnecessary necessaries, and who considers exactnesses. A squirrel invades her island, but there’s no empathy or sympathy here for her or for the squirrel. It is the child Jansson as an elderly woman but it doesn’t feel like that child character who naively takes on everything of the adult world around her.
There is a similar distancing felt in Letters from Klara. The theme is the tribulations of age but this epistolary piece reveals little of any great significance, despite (again) the occasional moment or enigmatic touch, such as in one of the crotchety Klara Nygård’s letters regarding how the aged start to give away their possessions. There is a passing thought, however, that maybe Klara Nygård may well be linked to the wise old Madame Nygård, portrayed in Jansson’s novel The True Deceiver (there being a penchant for returning characters, as would seem to be the case). This is as much as can be taken from this piece.
Jansson then delivers a piece of unexpected art. Messages begins in prosaic manner with a brief note from Tuulikki Pietilä (Tooti), Jansson’s partner, to her. It soon transpires that Messages is a collection of excerpts, no more than a few lines long each, received in various correspondences following Jansson’s success as an author. It is, at first, difficult to grasp the idea of this piece, as seemingly banal as these messages begin. However, gradually, through careful selection and juxtaposition, there is a sort of world-weary nuance at play, and the whole is shot through at exactly the right positions with banal and beautiful counterpoints. In amongst the variety of requests for product endorsements for Moomin pictures (on sanitary towels and marmalade jars, for example), for specially requested tattoo designs, or a request made by a sheepish ‘friend’ in asking for a drawing for her grand-daughter, in amongst a missive from a plagiarist incredulous that permission should have been sought for use of Jansson’s work, and amongst sinister accusations and cold warnings of Jansson being ‘watched’, there are the short, unneedy information-giving banalities of love from Tooti and the occasional poignant and extremely beautiful comments of a young Japanese fan.
For example, immediately after the confident arrogance of a group of young upstarts seeking endorsement for plastic products (as also referenced in the writing on Anna Aemelin in The True Deceiver), there is the elegance of Japanese Tamiko’s humility:
Dear Jansson san, I have collected money for a long time. I will come and sit at your feet to understand. Please when can I come there?
The final two messages read:
I brought the washing in, you can put the potatoes on at 6. Someone called Anttiia phoned.
Dear Jansson san, Take good care of yourself in this dangerous world. Please have a long life. With love.
The overall effect is quite stunning. This reader/writer is left to wonder what Jansson would have made of these comments/messages here. There is a natural connection from Messages to Correspondence, in which Jansson creates a story of some of Tamiko Atsumi’s letters to her. Tamiko comes across as increasingly obsessive in her ‘love’ for Jansson from afar. In its overall brevity, the piece develops an uneasiness because of this ‘love’, albeit potentially lost in translation in the faltering English of someone admittedly coming to grips with learning the language. However, deftly and simply, Jansson brings us back to Tamiko’s elegant, humble and poignant concluding words.
We have been on a journey and we continue with the final two story offerings in this collection. In Travelling Light, Jansson writes ‘My voyage had suddenly been altered and my peace destroyed.’ This line is apt for this piece as we initially travel with the author in what we read as an at least semi-autobiographical tale of someone determined to escape the clamour of people by leaving life behind for a trip on a ship into the unknown. However, the tale of the fictionalised Jansson we fall into the fictive flow with is unsettled some half-way through when the narrator transpires to be a Mr Melander. At this point a certain degree of interest is lost because, in the context of the collection as a whole, this just does not fit. Perhaps Jansson has been far too deft here for her own good in successfully unsettling the reading process in a piece that focuses, in part, on the unsettling nature of other people (though we can’t read this for sure). It is a shame because Jansson offers some fine perspectives of world-weariness, though the nagging returns as to who is narrating here and this, ultimately, overwhelms the idea of how someone eventually returns to character traits they’ve always apparently exhibited, as is the direction of the end of this story.
The collection ends with Taking Leave: undoubtedly an account of some poignancy for Jansson (being concerned with the inevitability of age and of having to leave her summer island retreat with her partner, Tooti, for the very last time); however, the deliverance of that poignancy is not altogether realised in the writing. There is a short and satisfying detour about whether to signpost visitors to the ‘secret room’ in their soon-to-be discarded house (they don’t signpost but Jansson writes ‘We put a small bottle of rum in [the secret room] as a surprise and as a reward’), but for the larger part Jansson makes use of the writerly device of Tooti narrating to her the tale of their boat being sunk one summer in a storm. It is a back-story nod towards the memories of place, times, objects, and leaving the island behind. The device feels somewhat clumsy though and Jansson then moves into her final symbolic ending: that of an old kite of theirs, found again, and taken away on the wind across the Gulf of Finland. Despite this, Taking Leave doesn’t quite leave us with a feeling of everything being left behind: Jansson floats off, as does her kite.
What A Winter Book does do is add to the character that is Tove Jansson, who we see in her childhood adventures and forming worldview and comprehensions of art and beauty and play, through her primary interactions with her artist parents, and in the affects on her by the occasional childhood friend, adult acquaintance rowing by, or oddity of adult such as Jeremiah the geologist or Annie the housekeeper rowing by her life in the analogy; A Winter Book also delivers the wisdoms of Jansson the elder, her world-weariness and resignations, and her coping strategies with the world that is so much bigger than she ever could deal with. Jansson’s identity is of the seascape: her writing is of waves and returns. In the end, Jansson lost faith in the sea, became fearful of it, and she knew it was the beginning of the end.
A Winter Book marks the book-ends of a long life in art and beauty, love and nature.
Burns’ collection of short stories has been sitting on my bookshelves for the best part of at least fifteen years. It seems to have always been part of the fabric of my book collection, and a book which has been mentally tagged over time as ‘commendable’. This tagging process is a curious one: one of some sort of indelible internal inking; it suggests that the book must have been previously read. That said, on reflection after reading the collection these past few weeks, there’s only a faint trace of recall of parts of its contents. Does this suggest that the stories therein just weren’t strong enough (or is it more to do with the eroding nature of the passing of time)?
I decided to read ‘again’ almost on a whim: partly confident that the mental tagging would serve me fine, partly in trepidation that my reading tastes or acuity in analysis weren’t once sufficiently developed. What I find is that all of the above is true. About the Body (first published 1988; Sceptre edition 1990) is, for the most part, subtle, well-written, and well-constructed. Certainly in the first half of this collection of fourteen stories Burns delivers precise, cut-glass, clear, clean prose. Hardly anything is wasted in the arrangements of words. Markers are placed early on in stories and economically returned to later. These stories have the feel of care in construction, thought, considerations of structure and texture. There are some slender and beautiful juxtapositions in place. Sometimes it feels as if Burns is crafting a piece, out and out, from a single kernel of an idea or from the delicate arrangement of one notion touched against another.
Embracing the Slaughterer (the first story in the collection, and one of the better pieces therein) builds from a few lines referenced to Marxist German poet and playwright Bertolt Brecht. Burns constructs a tale that is both somewhat predictable in direction yet engaging. We soon learn to analyse the probable style of his stories to come, insofar as locking on to the key elements which we suppose Burns to have built out from. Not only does Brecht’s three lines from Die Massnahme (The Measures Taken, 1955) form a central spine of Burns’ story (‘Sink in the dirt, embrace the slaughterer, but change the world; the world needs it’), but succinct lines such as the following, as narrated by the assassin character therein (having a whiff of Plato’s Republic, though this is not directly referenced), focus the reader:
Good food and wine, I told him, should not be the province of the merely wealthy, just as high culture must, if it is to survive, be taken up once more by the masses.
John’s Return to Liverpool is at first a little odd to fathom, though it soon forms around us like steam in the warmth of the bathroom. Is ‘John’ the Lennon of Liverpool we automatically concoct in our minds? It isn’t immediately clear, but it doesn’t need to be: Burns leads us through the story and we see that, yes, here is Lennon, though in a form other than we suppose him to be. Burns seems to be playing with the way we construct connections in our heads. Very deliberate structural arrangements begin to form in stories such as How Things are Put Together, and here Burns explores filmic qualities in his writing. The body of work so far tends towards a complementary, precise and crafted affair. Even the story lengths, as individual pieces, seem honed and clipped — as consistently similar as they are.
Subtle juxtapositions form in stories such as Practical Living: ostensibly about the death of a pet rabbit, this story develops around emotional connections and unspoken difficulties regarding a disabled child. Later, in My Life as an Artist, a man and his wife each can’t let go of their separate passions or, rather, that which troubles and forms them: he, a maintenance man/caretaker aspires to be an artist; his wife is in continual grief for their lost baby from many years gone by. Burns shifts the dialogue well, creating a believable pair of gender perspectives, and he manages to blend the sensibilities of the two characters into the whole. In Blue, a man awaits the outcome of an archaeological dig in which it’s anticipated that his RAF pilot father will be found, having crash-landed there before the main character was born: Burns plays with the reality/imagined liminal spaces that the emotive connection can blur.
However, from Guido’s Castle onwards, at the half-way point of the collection, there’s almost a deconstruction taking place: several of Burns’ careful connection methods from the earlier part of the book begin to slip into the more exploratory. The aforementioned Guido’s Castle builds to a point of empty non-commitment on the part of the writer: why did Guido build the tower at the back of the villa that he and his dying wife share? Burns leads us towards some succinct and teasingly cerebral conclusion, but we discover that the tower is merely folly. Burns means to leave us unsatisfied, but it isn’t a taste that is embraced.
A Country Priest and Fogged Plates seem at first to be pieces back in form, but significant twists in each only serve to disturb the reader: the slightest of fictive cheating has taken place. The former, for example, unexpectedly places us in a far more profound scenario than we at first realised; the latter plays with where we are in time. That we gradually work out a time and place in any given story should work as a reward for our reading and connecting the puzzle pieces: when we’re shifted from that path, rudely as it were, when we’re walking comfortably along in the story’s authority, it risks unsettling us.
By the time Burns presents us with Babel, towards the end of the collection, the exploratory is well-bedded in: the result here, however, is somewhat confused in its descriptions, place, time, and reason for being. The very last and longest story, Dealing in Fictions, makes a promising start, concerned as it initially is with a man and his analytical, intellectual partner, and the promise of some great truth playing itself out, as evidenced in the opening line: ‘Life always leaves you unfinished.’ Burns soon throws us completely with a sudden and unexpected event that rips through the narrative thread. This is not as unbecoming as in previous stories, as noted above, but what transpires thereafter is an eventual petering out of the potential force of the tale, and indeed the collection as a whole.
In Dealing in Fictions, Burns starts to explore (not so subtly this time) the ideas of one of his characters (the Polish literary critic, Zurawski) within the structure of the story itself. Set against the backdrop of Irish terrorist activity in London, Burns explores the story of Peter and Ruth, and of terrorist activists Mary and Tony, through Zurawski’s eight hypothesised narrative structures. However, Burns only seems focused on the first of these (the intersecting biographies theme) before losing interest in dwindling word counts towards the rest. Perhaps this is another play on Burns’ account, though if it is then it’s far too subtle to be appreciated.
Thinking on the collection as a whole, it is appreciated by this reader to be engaged in an English language book that hasn’t either been mangled by presumably erroneous translation or which slightly irritates at the edges with its own particular syntax. Burns writes as a British English-speaking native and we must always appreciate that which doesn’t slightly buzz at our own ears. That said though, there is a slight irritation in Burns’ choices of flat, almost prosaic, character names: Simon, Peter, Mary, Andrew, Neville, Tony, et al. It raises the question that has sometimes formed in my own writerly consideration: should we place our characters so blatantly in their landscapes by such choices, or can we afford to exercise more in the way of flourish and embellishment in this respect? Guido may even also fit into Burns’ characterisation structure, fitting neatly into his Italian landscape as he does.
This all said, the mental tagging that first inked itself into my reading perceptions, regarding About the Body, is for the large part still intact: Burns writes here with some efficient, subtle, elegant prose, and for that the ink remains as was. Perhaps his subtleties in the first reading, several years ago (if, in fact, I did at all) were lost to me. My ability to analyse has deepened and broadened, and so Burns’ juxtapositional arrangements and structural explorations are now more evident. This said though, I’m left wondering what will remain, internally and indelibly, of Burns’ About the Body in another fifteen years’ time.
After reading and reviewing Márquez’s Strange Pilgrims it seemed fitting to return to some of his earlier stories. In my previous review I had, after all, written that ‘reading Márquez is like coming home’. I stand by that, but now I qualify it with the following amendment: ‘reading Márquez’s more recent stories is like coming home’. It’s not that this collection as a whole is bad, it’s just that Márquez seemed in general to have turned a corner (on this evidence alone) at around or about the start of his forties (being around or about the late 1960s/early 1970s).
Innocent Eréndira and Other Stories is largely comprised of stories from 1947-1953 (Márquez being, therefore, around 19-25 years old when having written them). These offerings, in places, are reminiscent — for this reader — of some of Kafka’s Meditations: their unnamed characters and settings, and their introspective focus, are not the precursors of Strange Pilgrims we might expect. The strapline on the Penguin Books copy of Innocent Eréndira and Other Stories (2007; first published 1972) states: ‘These stories abound with love affairs, ruined beauty, and magical women.’ This is inaccurate. These stories abound with perspectives on death.
In retrospect, it perhaps cannot come as any great surprise that the running order of the book is such as it is. The first piece, The Incredible and Sad Tale of Innocent Eréndira and Her Heartless Grandmother is a novella length story, but its date is more significant (1972). This is followed by the less successful The Sea of Lost Time (1961), and Death Constant Beyond Love (1970). Thereafter, the collection retreats to the late 40s and early 50s period of Márquez’s writing career. With the exception of the beautifully crafted Someone Has Been Disarranging These Roses (1952), these nine stories can best be described as experiments along the way.
There are flourishes of things still to come in these offerings, but by and large the early Márquez had greater words and ideas still inside him. By the time he writes Innocent Eréndira we see a shift in capability start to unfold, as glimmerings of writerly hope have done in earlier pieces such as Someone Has Been Disarranging These Roses and, to a lesser extent, the latter portion of Eyes of a Blue Dog (1950). The novella length work that is Innocent Eréndira is something Márquez is more adept at than the very short piece. He likes to unfold the story and there is engagement in this in the process. Márquez skilfully reveals the story and the characters: so much so that we forget that, actually, The Incredible and Sad Tale of Innocent Eréndira and Her Heartless Grandmother is a tale encompassing some sordid form of child abuse (Eréndira, the teenager, is subjected to prostitution by her grandmother as a means of ‘paying off the debt’ that Eréndira has brought upon herself in an accidental fire).
Márquez drops in moments of what he’s later seen to embody — magical realism — for example, Ulises (Eréndira’s young love interest) turns glass objects to different colours just by touching them. Having offered us this glimpse of something interesting, however, Márquez doesn’t then follow through with it: leaving it to fester in the background and leaving the reader wondering if it will reappear at some stage. It doesn’t. It’s just a throwaway line. It needed nurturing.
In contrast, Márquez does have a particular predilection in this collection for certain favourite words or motifs: the adjective ‘phosphorescent’ is repeated in various stories (as it also tends to turn up in Strange Pilgrims, if memory serves correctly); Márquez also has a penchant for the lone cricket, the sensory appeal of cement, and the death-imbued violet. Whilst these are not negative observations (aiding the connection of elements of a body of work), the English translation read here does suffer from the repeated and distracting use of such words as ‘lighted’ or ‘unlighted’, instead of ‘lit’ and ‘unlit’. Indeed, it is to the American English translation (from the original Spanish by Gregory Rabassa) that particular irritations are levelled when encountering such colloquialisms as: ‘Boy, you’re asking a mint’, ‘Don’t be a tightwad’, and ‘Then beat it . . . you lowlife!’ (The Incredible and Sad Tale of Innocent Eréndira and Her Heartless Grandmother). I wonder how the original Spanish phrasing played itself out.
The translator, perhaps, may also be at fault (though I shalln’t know without further research) for the repeated inability to cope with certain grammatical structures: for example, in The Third Resignation (1947), Márquez is attributed with ‘He would have liked to catch the noise . . .’ It is, though, more for the early Márquez to straighten out the incomplete sentences that do tend to crop up in his writing, e.g. ‘Like all hard blows against nature’s firm things.’ (ibid).
Some of Márquez’s shorter, earlier stories get lost completely from early on. The Night of the Curlews (1953) is, frankly, unfathomable with its repeated use of ‘we’ and its uncertain characters and place (it is not a wise story on which to end a collection that started with Eréndira herself); some stories in this collection lose their way part-way through a struggling piece, e.g. Bitterness for Three Sleepwalkers (1949); some stories here show early promise but then go astray, such as in The Sea of Lost Time (1961), in which — presumably — the lead character retreats under the sea to swim with the dead.
Eyes of a Blue Dog (1950) could easily have had its first two and a half pages removed: being, as they are, littered with ‘he said, she said’, ‘then this happened, then that happened’. What follows from that difficult beginning though is a story in which the reader can immerse: a tale of two people who meet only in dreams. Márquez is in a period of wavering capabilities. Dialogue with the Mirror (1949) includes the dense, impenetrable text that is:
There, under his fingertips — and after the fingertips, bone against bone — his irrevocable anatomical condition held an order of compositions buried, a tight universe of weaves, of lesser worlds, which bore him along, raising his fleshy armor toward a height less enduring than the natural and final position of his bones.
This all said, there are the linguistic flourishes in his early work that amount to some chronicle of a Márquez foretold: ‘That cold, cutting, vertical noise . . .’ (The Third Resignation, 1947); ‘She turned her face to profile and her skin, from copper to red, suddenly became sad’ (Eyes of a Blue Dog, 1950); ‘. . . then she paused on the threshold, coming halfway into the room after, and with the voice of someone calling a sleeping person she said: ‘Boy! Boy!’’ (Someone Has Been Disarranging These Roses, 1952).
It is this latter short story that particularly presses itself to my reading psyche: it did, and delicately so, back in 2009 when I first read this collection, and it does so again five years later. Perhaps the afterglow of that first read has shaped a preconceived notion that it would still be fine in its crafting, weight, and poise. This is an aside. What matters here on the second reading is that Someone Has Been Disarranging These Roses marks a significant point in this collection, coming at the end of the running order, and tarnished only slightly by the unfathomable The Night of the Curlews (1953). The narrator in the former tale is the boy in question, sought by the now grown woman who was party to the young child’s death some years beforehand. That the narrator, ghost, ethereal boy in question, is a child using adult language can be overlooked because the writing here is some of Márquez’s best in this collection.
Thereafter, save the issues already outlined in the chronologically subsequent stories, Márquez starts to build his characters and places. Senator Onésimo Sánchez appears here in Death Constant Beyond Love (1970) and also, later, and to a lesser extent, in The Incredible and Sad Tale of Innocent Eréndira and Her Heartless Grandmother (1972). Márquez also describes Laura Farina here in the former story, come to sexually frustrate the ailing senator in order that he ‘straighten out’ her father’s ‘situation’: ‘Laura Farina sat down on a schoolboy’s stool. Her skin was smooth and firm, with the same color and the same solar density as crude oil, her hair was the mane of a young mare, and her huge eyes were brighter than the light.’ The Sea of Lost Time (1961), despite my aforementioned misgivings, does begin with the prospect of sensory place. Innocent Eréndira itself brings place, character, and the sensory together.
What Innocent Eréndira and Other Stories as a whole offers us is not Márquez’s best work: it does show us flashes of the writer he is to become, but it does also lay before us some dusty, sometimes confused and confounding Kafkaesque introspections perhaps best documented as experiments along the way. In this collection the ripening of Márquez’s long writing career comes to fruition somewhere after these early predispositions on the theme of death are passed.
Reading Márquez is like coming home. The connection of this thinking to the title of this story collection was not an intentional one when I first wrote that line; however, it is, I find now, quite apt. Márquez’s skill at immersing the reader in his places, characters’ situations, and in moments in time is, on reflection, worthy of analysis by any writer looking to hone their own craft. Márquez spends time on his words, and that time rewards his efforts.
In his prologue to this collection (originally published in Spanish as Doce Cuentos Peregrinos, 1992; this English translation by Márquez himself, Penguin Books, 1994), the author delivers the history of the stories. He started with sixty four ideas (notes to form a novel): he wrote some of these ideas up, lost energy on others, lost the notes to many more, reconstructed as many as possible, and whittled those down to the final twelve. As a former reporter and foreign correspondent in various cities across Europe (where the stories are set), Márquez, the Colombian, then needed to check that his memories of places tallied with how those places actually were. He found that they didn’t. He re-wrote the stories, stating that ‘I could not detect the dividing line between disillusionment and nostalgia . . . I had found what I needed to complete the book, what only the passing of years could give: a perspective in time.’ The whole process took some eighteen years, from the early seventies to the early nineties. The stories, these strange pilgrims, had come home.
Reading Márquez is like coming home. His characters, Latin Americans in Europe, spring quickly from the page. Márquez tries to deliver as much hook in the first paragraphs of his stories as he can. This reader’s analysis focuses on some minute but telling details: in his characters, Márquez has a penchant for the full name (immediately giving us some sense of a person; some feel for the possibility of a history; some flavour of the Spanish language flow of the tale that could well be melted into the original language, but which also flows, for the most part, well in English). So, we have María de la Luz Cervantes, Miguel Otero Silva, Maria dos Prazeres, Señora Prudencia Linero, Fulvia Flaminea, Nena Daconte, et al.
This is not all. Márquez’s travels have given him an eye for description of place and how that might feel for his characters: descriptions of the portentous wind at Cadaqués near Barcelona; desolation in the side-streets of Paris; the squalid hotel room of an exiled president in Les Grottes, Geneva. It is this ability to sink the reader down into the fabric of the book, the place and person in the print, that Márquez excels at. To this he also adds to the mix something that every writer ought really to aspire to: that is, the succinct ability to pinpoint a description with a minute but significant object detail (something I have been thinking of for quite a while, and something I currently think of as the ‘specific integrities’ of those objects). Márquez offers up not just ordinary words and phrases, but rather the specific details: ‘he cooked his own food in a can over an alcohol lamp’ (Tramontana); ‘he wore a kind of street pajama made of raw cotton’ (I Only Came to Use the Phone); ‘the glacial factories, the vast fields of Roissy devastated by fierce lions’ (Beauty and the Airplane).
What these stories present, for the most part, is believable patterns of lives, though in the sometimes slightly fabulous ways of magic realism. Could a small wound caused by a rose, such as suffered by Nena Daconte in The Trail of Your Blood in the Snow, really bleed so much on the road trip from Madrid to Paris? Could seventeen poisoned Englishmen in the lobby of a hotel in Naples (‘seated in symmetrical order, as if they were only one man repeated many times in a hall of mirrors’), in Seventeen Poisoned Englishmen, all succumb so to the oyster soup at supper? Could a sea wave issue forth with enough force to embed a car into a hotel wall, in I Sell My Dreams (‘the body of a woman found secured behind the steering wheel by a seat belt . . . [the blow having been] so brutal that not a single one of her bones was left whole’)?
The fabulous infringement on reality, of course, doesn’t matter: intertwined as it is in the stylistic choice. This is the beauty and the power of Márquez’s immersive abilities. As we get to the final stages of the collection, Márquez plays more with the fantastical. Toying with the knowledge that Madrid has no river, landlocked, Márquez tells the tale (with a slight detour into authorial explanation), in Light is Like Water, of two boys, bought an aluminium boat by their parents as a reward for school work, who break a bulb and flood the apartment with light. They invite their classmates when their parents are out and a party ensues, though thirty seven classmates end up drowning in the light there. ‘[Light] spilled over balconies, poured in torrents down the façade, and rushed along the great avenue in a golden flood that lit the city all the way to the Guadarrama.’
Though such beautiful arrangements above are evident in this collection, I can’t help wondering if Márquez’s writing is better suited, on balance, to the longer form. Certainly on the odd occasion in this collection, such as in The Ghosts of August, Márquez ends abruptly and seemingly on the cusp of an idea. That we might wake in a room different to the one we went to sleep in is, for this collection at least, not so satisfactory a tale. Márquez seems to enjoy the ‘folding in’ of characters in his stories: that is to say, he delivers a promising opening; he offers us place and character and a rough idea of where those characters are heading in the piece; then he folds in some extra details to give further colour to the whole, before often folding in further still by delivering some back story details to the personal histories of those characters. Sometimes this works and sometimes it’s a distraction. Sometimes the reader is left a little frustrated but then, wait, Márquez knows what he’s doing and this back tale here is needed later, we find. This folding, as I call it, needs space, and that space in the short story is precious.
There are some other minor aspects of this particular translation that cause slight pause for concern, for this reader at least. There is the odd occasion of tortured syntax, the dogged insistence in not splitting the infinitive, and the American English use of such stylistic decisions as capital letters following colons. These quibbles could be a result of translations for the American English version, and/or due to the author’s own writing choices in the original Spanish (the latter I won’t know). That said, in the case of punctuation, even in matters of house style there ought to be some consistency and there are occasions where this does not follow in this collection. Of sentence structure, moments such as ‘we had bathed in a steaming pool of waters so dense you almost could walk on them’ (Miss Forbes’s Summer of Happiness) cause some small irritation.
These moments, however, are more than offset but the abundance of beautiful arrangement, skilled immersion, and the odd flash of wry humour in this collection. Márquez writes, for example, ‘we ate under a mauve sky with a single star’ (The Ghosts of August); ‘We would ride on his Vespa, he driving and I sitting behind, and bring ices and chocolates to the little summer whores who fluttered under the centuries-old laurels in the Villa Borghese’ (The Saint); ‘The functionary who received him in the name of the ambassador looked as if he had just recovered from a fatal disease’ (The Trail of Your Blood in the Snow).
Reading Márquez is like coming home because, once encountered and if immersed, he and his writing are far-flung friends for life.
Javier Marías writes at length: by which I mean the span of his written body of work and the extent of some of his sentences. I suspect that that body of work has, in places, been re-edited, re-imagined, and re-purposed (this is surmised by way of the author’s own brief notes to this collection, but also by way of a cursory analysis of his rather consistent style over the thirty year period that contains the ten stories here). However, despite the overall readability of Marías’ work in this collection, it would appear that the establishment of his ‘name’, in the eyes of the publishers, has henceforth done away with the necessity to edit some of those brutally long sentence structures.
While the Women are Sleeping, published in 2011 (English translation from the original Spanish by Margaret Jull Costa), is a collection of stories of various length which span a writing period between 1968 and 1998. Marías asks the reader in his notes to ‘be kind, please’ regarding the story titled The Life and Death of Marcelino Iturriaga (originally published in El Noticiero, 1968). This is, in fact, a story written by the fourteen year old Marías in 1965. It is short and perfectly readable, concerning the brief life and dull existence (and ultimately dull after life existence) of its eponymous narrator. There is very little to suggest the writing of an average fourteen year old here. So the conclusion is that either Marías was well on his way to becoming a good writer by that age, or the original manuscript has been edited to fit the later emergent body of work.
Marías notes that this story does bear resemblance to a later story, When I Was Mortal (1993), not included in this collection. This practice of writing on writing, as it were, is not one I’m against — in fact, I find it a useful device for development of the art form: my slight irritation here in this collection, however, is the perceived implication of ‘this is how the writing has always been’. If this is the case, then so be it; I am suspicious though because surely every writer’s quality of output will shift over time, especially over a thirty year period.
What does appear to remain more or less consistent though, in Marías’ work here, is that there are subtle suggestions of something lying beneath the surface in his stories. The narrator Iturriaga, for example, ends his story by stating (whilst lying in his coffin), ‘this is my life and death, where there is nothing.’ The title story (While the Women are Sleeping) and The Resignation Letter of Señor de Santiesteban, the two longest offerings, deal in part with time and power. There is, however, the sense that Marías wishes to convey more than just these concepts between the lines. It is this notion of ‘between the lines’ that this reader finds himself focused on, in thinking about the overall impact of this collection. Marías’ writing appears to develop from conceptual inception, but the full depth of that thinking on the author’s part doesn’t always shine through.
This is a shame because, for the large part, Marías’ writing is readable. The story titled Gualta, for example, clearly presents us with the tale (albeit not entirely believable, though we go with the flow in this instance) of a man who meets his exact doppelgänger in looks and actions. (Marías’ conceptual preoccupation is present here too). A Kind of Nostalgia Perhaps (re-purposed, according to the author’s notes, by altering the title, character names and setting of a previous story due to a short deadline for a commission) tells the tale of a ghost and a reader. Lord Rendall’s Song, apparently built around a bittersweet retort in a song of that title, by the author’s account, concerns time and loss and, on the face of it, the main character’s return from war to find his wife involved with another man.
In An Epigram of Fealty there is, again on the face of it, another simple tale: this time of a bookstore manager who comes into contact with a beggar, John Gawsworth, purportedly King of Redonda and subject of allegiance, as written into a display copy of a rare pamphlet. That pamphlet, concerning rare poems by Dylan Thomas, offers a snippet of information regarding Gawsworth’s uptake of the title Juan I, King of Redonda. The story goes that Gawsworth, literary executor to the late writer M. P. Shiel, inherited the title from the latter who, it would seem, developed the idea of being king of his own small uninhabited island in the West Indies, near his birthplace. Gawsworth saw it fit, so says Marías, to name Thomas as a Duke of the realm. Marías himself became the disputed ‘King of Redonda’ following a later ‘abdication’. Redonda is an elaborate and long-lived literary fantasy and joke, it would seem.
The whole story of Gawsworth and Redonda appears, I remember, in Marías’ Dark Back of Time (Vintage, 2004, English translation by Esther Allen; Spanish original, 1988). This book itself builds on Marías’ novel, All Souls (various editions, English 1992), and the affect that that book seems to have had. It is this building on a body of work and the cross-referencing of ideas that Marías seems to take particular comfort and refuge in.
This is all an aside to the pressing concern of the collection While the Women are Sleeping. Returning to the readability, in most part, of Marías’ writing here, this is only let down by his penchant for the occasional long and convoluted sentence. One sentence in particular is 110 words in length, punctuated by multiple commas and other means of breaking it all up in order to stretch the point. It seems that, in places, Marías finds it difficult to accept the notion of the succinct. There are only two conclusions, namely: that the original Spanish lends itself better to Marías’ flow of thought and writing; or, as implied earlier in this piece, Marías has reached the point of being beyond the pull of editorial reins.
In conclusion, what While the Women are Sleeping offers is a collection that is at once readable but sometimes readable only in a quiet place (the distraction of external stimuli may well disrupt the bubble of some of Marías’ long sentences). The stories therein aren’t formed in their entirety in this way, far from it, but concentration is suggested. That too would be a skill worth considering when trying to dig down deeper into Marías’ apparent love of ‘something beneath’ the superficial, of his building on the body of work he’s amassed, and of his penchant for the fantastical and literary, such as Gawsworth and all things Redonda.
Marías writes at length, in that body of work and in his sentences: there may well be more here than meets the eye; however, Marías may well be the only one to truly see everything therein.
It is my intention to read more. I don’t call this a resolution of the New Year kind because it’s always my intention to read more. Having had the opportunity to kick-start that process recently, I need some means of being held accountable. This site can offer that accountability. There are book reviews all over the internet and so, in adding to that body of writing, I write here to create a personal catalogue — for public consumption if that proves of interest. It’s January 5 and I’m already a book and a half in, my partner in accountability! There will follow writing on that reading in due course.
In the meantime, I’ve dug up a review written under a pseudonym in December 2011: Stories and Prose Poems by Alexander Solzhenitsyn:
I discovered this somewhat tersely titled slim collection by chance. I’m glad that I did, despite some minor misgivings about the author’s manner of writing. Some weeks back, I chanced on a small bookshop, down an alley. On the very top floor, on a bottom shelf, nestled between other dustily forgotten literary types, was Solzhenitsyn (1918-2008). You shouldn’t judge a book by its cover, but the 1971 Penguin Books version (translated by Michael Glenny) features a bright red square overlaid by a man’s hand holding a sickle over an open book. I had all the intrigue I needed.
Solzhenitsyn, an army captain, was arrested in an East Prussian village in 1945 for making derogatory remarks about Stalin. He spent eight years in labour camps. It must be assumed that this time was spent stewing on his lot and forming his writerly direction: to find the ‘real Russia’. In Stories and Prose Poems, which consists of six of the former and sixteen of the latter, Solzhenitsyn displays both astounding brilliance and alarming clumsiness.
In the opening story, the author focuses on Matryona: a self-effacing woman who takes the narrator into her squalid home. Solzhenitsyn expertly describes a bleak state of affairs (being semi-autobiographical, following the narrator’s search for some isolation). However, the reader isn’t depressed by bleak descriptions of a cockroach-infested kitchen, for example. Instead, Matryona is depicted as someone with beautiful grace. There is the definite undertone of Soviet mentality (whether that’s due to indoctrination or inner desire) inherent in Matryona’s work ethic: despite her physical difficulties and poverty, she does what she can for the good of her community. The ending is tragic, as one might expect. There is a whiff of allegory about the whole.
Similarly brilliant in execution are some of Solzhenitsyn’s prose poems. I was astounded by A Storm in the Mountains, for example. Barely half a page long, this piece deftly describes the raw power and beauty of its subject matter:
Everything was black — no peaks, no valleys, no horizon to be seen, only the searing flashes of lightning separating darkness from light and the gigantic peaks of Belaya-Kaya and Djuguturlyuchat looming up out of the night . . . the voice of thunder filled the gorge, drowning the ceaseless roar of the rivers . . . the lightning flashes rained down on the peaks, then split up into serpentine streams as though bursting into spray against the rock face, or striking and then shattering like a living thing.
There are, however, downsides to this collection. The story For the Good of the Cause starts with a flow of alternating dialogue — a collection of people and their overlapping conversations. It is not only difficult to follow but clumsy in its execution. Names are used in dialogue to introduce characters, or to try to indicate who says what next. It feels somewhat amateurish:
‘Susanna Samoilovna! How are you? . . . Lydia Georgievna? Lydia, my dear!’
That said though, Matryona Vasilievna Grigorieva, from the first story, is regularly referred to as Matryona Vasilievna, so perhaps this is a Russian convention I’m not aware of. Clumsiness, or dullness, can always be ironed out, however, in stilted dialogue (despite a social history inherent between the words) such as:
‘I’m in the same position: electronic and ionic appliances are separate from insulating materials, which have been left with lightning engineering.’
Solzhenitsyn can hardly be blamed for a lack of social or scientific foresight when writing forty years ago, but sometimes his writing does strike a chord with modern times. In the story, The Easter Procession, for example, he describes a rabble of bored youths spoiling to agitate at a church. One need not look too far to see such disaffected actions in modern society. However, there are other aspects that Solzhenitsyn gets wrong. In the prose poem, The Duckling, which is simple and beautiful in its own way (espousing the wonder of such delicacy as the titular creature), the author asserts — perhaps with tongue in cheek — that we will all soon be flying to Venus, yet we won’t be able to re-create such a thing as a delicate duckling. In the twenty-first century, sheep have already been cloned!
Solzhenitsyn’s prose poetry is where he really excels. Several of these pieces have reflective morals attached to them. It is perhaps a sign of the personal history of the author, of the Cold War times in which he wrote, and of the Soviet society he lived in, that such reflection is written in such a manner. The collection has been thoughtfully rounded off with the final prose poem (We Will Never Die): it explores the notion, despite the fact that ‘more men died for us Russians than any other people’, that Russia had no day of remembrance, unlike ‘all [other] nations [who] dedicate one day to remembering’. The piece, and the book, ends with a foresightful quip: why consider the past and the dead, when ‘we will never die!’?
Small pieces of huge histories can be found on the dusty bottom shelves of the very top floor of little bookshops, hidden away down side alleys. Solzhenitsyn’s writing, in this collection, does oscillate between the beautiful and the clumsy, between the sublimely tragic and the utilitarian; perhaps, though, we shouldn’t hold this against a man whose restless mind was shaped by war, imprisonment, and a search for something true in his homeland.
Announcing the release of my latest fiction offering (following my previous post and waiting for the KDP process to filter its way back to my inbox). Four Kinds of Wreckage (Savage Short Loves: Volume II) is available for purchase via the bookshop link on the left-hand side bar.
At the start of this particular writing process, I didn’t envisage a year long project in all honesty. The previous instalment of this series took the best part of three years to come to fruition, but Volume II was intended to be a quicker write. What we learn along the way is that words won’t be rushed.
As a taster of the contents of this second volume (and something I haven’t yet done in order to promote the contents of the first volume), there follows at the end of this post a very brief overview of the thirty pieces therein. I call them ‘pieces’ because I always have: they’re not stories in the conventional sense of the definition (by which I mean, the view that such writing has a ‘beginning, middle, end, plot, crucible/conflict’, and so forth); these pieces, in their intentional brevity, sometimes have a storyline to them, are sometimes a moment in the telling, sometimes they’re the middle of things that might expand out in the mind, etc.
How to write a synopsis of such brief affairs (being in the region of 60-1000 words per piece)? The succinct, below, shall describe the brief.
Prices have been reconsidered to reflect the individual work in question, but I’m open to the idea of a free copy coming your way if you drop me a line on my Joel Seath: Writer Facebook page, or send a message on this blog site. This free giveaway is for promotional purposes and therefore with a limited initial period (if it’s successful, I’ll do likewise again sometime). So, contact me by January 17 please.
As the independent writer/publisher’s promotional work is aided by honest reviews, you’ll know then — as a reader — that a review of the book is requested in return for a free copy. There is a reviews page set up on this site for readers’ comments. I thank you kindly in advance of your interest.
So, to the writing in Four Kinds of Wreckage (Savage Short Loves: Volume II):
being a story of love taken to its inevitable ends
in which we cannot escape
exploring the unreliable
The Glass Girl
being a fractured moment of a fractured man
The Wasps’ Nest
in the midst of a garden tale
A Memory of a Love We Almost Shared
exploring what could have been
When We Never Were
in which we see peripherally
All is Far from Clear in War of Love
continuing battles fought in love
Written on the Streets
a window on the fearful follower
a small sliver on dimensions
Red Queen of Stones and Wings
being a fractured obsession
The Fragility of Sense Geographies
exploring an inner urban landscape
Our River’s Bones
in which one inner landscape is condensed and falls
exploring a city we don’t control
Composition in Water and Other Elements that Mark
being the self-portrait of a city
City of Trees
in which she murders
The Lure of the Threshold
an urban escape
a simple tense construction of the world
in which we might see other than we usually see
Incorrigible Mr Yu
being the reflections of the eponymous maybe-misguided
Stained in the Republic of Amnesia
exploring a simple construct of love
following a twisted flame
Absence and Fondness
in consideration of misplaced loves
Orphans of the Wasteland
a small view of loss
Soldiers of the Hidden World
in which empathy and the sensory overcome the emptiness
To the Slippery Wordlessness of Us
in celebration of words and wordlessness
a brief moment in dejection
She Salutes, and Waves
a true story told
The Thought of Disappearing
in contemplation of time
My Boy the Writer; My Father in Dementia
for my father, who is missed
Peace be to my readers (here on the blog and there in my books).