heat
It's pushing thirty in Norwich today. Whenever it does this, I find myself in the not overly air conditioned library, forgetting the greater part of my vocabulary and ability to think in an organised manner.
Last night I read Chris Paling's book A Town by the Sea. I really, really wanted to like it so as to make a big noise about the Booker shortlist omitting difficult fiction (James Meek's The People's Act of Love was, annoyingly, a huge disappointment). But I'm not really sure about it as yet. In many respects it does what I've been wanting British fiction to do for a long time, which is jack in the contemporary referent in favour of a more stubborn, abstract chronotope*. It has the same approach to motive and subjectivity as the early nouveau roman and an enterprising approach to mythomania that implies a hostility towards the cod psychology that characterizes most so-called literary novels at the moment. There is, unfortunately, too much of a dependence of Sebaldesque melancholia 'n' memory themes that writers still seem to be employing half-heartedly. There are passages of beautiful writing but it often descends into whimsy of the sort that results in would-be novelists suffering schoolyears of torment. I don't know, it's better than most contemporary stuff I've read lately.
We'll see on that one.
jx
* I recognise that in writing novels that date fast, contemporary writers are critiquing a culture of disposability. This disclaimer doesn't accomodate the fact that it's incredibly frustrating to read the likes of Nick Hornby/ Martin Amis/ Ian McEwan clumsily attempting to deal with a millieu that they seem to be separated from by the very virtue of their critique.
Last night I read Chris Paling's book A Town by the Sea. I really, really wanted to like it so as to make a big noise about the Booker shortlist omitting difficult fiction (James Meek's The People's Act of Love was, annoyingly, a huge disappointment). But I'm not really sure about it as yet. In many respects it does what I've been wanting British fiction to do for a long time, which is jack in the contemporary referent in favour of a more stubborn, abstract chronotope*. It has the same approach to motive and subjectivity as the early nouveau roman and an enterprising approach to mythomania that implies a hostility towards the cod psychology that characterizes most so-called literary novels at the moment. There is, unfortunately, too much of a dependence of Sebaldesque melancholia 'n' memory themes that writers still seem to be employing half-heartedly. There are passages of beautiful writing but it often descends into whimsy of the sort that results in would-be novelists suffering schoolyears of torment. I don't know, it's better than most contemporary stuff I've read lately.
We'll see on that one.
jx
* I recognise that in writing novels that date fast, contemporary writers are critiquing a culture of disposability. This disclaimer doesn't accomodate the fact that it's incredibly frustrating to read the likes of Nick Hornby/ Martin Amis/ Ian McEwan clumsily attempting to deal with a millieu that they seem to be separated from by the very virtue of their critique.
