After These Things by Jenny Diski

In After These things Jenny Diski accomplishes an almost impossible task. She starts with a well known story, and thus a plot ready declared, a story that claims history and yet is read as myth. She reworks it, gives shape, form and thought to characters we think we might already know, and then puts words in their mouths. She finally presents the whole as an original work, a novel of deception, love and the intricacies of family life in a culture now perceived as alien. And she succeeds brilliantly, creating a new experience in a new world for the reader within a familiarity that her approach reinterprets.

After These Things is born of the Old Testament. Abraham and Isaac, then Jacob and Esau, Rachel and Leah and finally Joseph and his half brothers, all face one another in head-to-head rivalry. There is trickery and deception, bullying and exploitation, politics and self-interest. Individual battles are fought, private wars are waged, all in the name of family. For instance, Jacob profits through his trickery, but is later himself the victim of Leah’s coup. And so within each rivalry there are characters with stratagems, strategies and aims, goals that are often justified via claims to occupying a special position in relation to God. And yet all the characters have to live with the consequences of their individual ruthlessness. Together they pursue individual goals that eventually add up to a dynastic success, but perhaps not for any of the reasons that they themselves planned. 

And After These Things thus grows into a finely-drawn psychological thriller and political intrigue. Characters whose interests coincide cooperate, albeit often only pragmatically, despite their partners’ clearly stated and obvious cultural and religious differences. A tangled web of deceit, compromise, antagonism and truce eventually casts Jacob as the successful instigator of a bloodline, despite its having been constructed via four separate mothers, two of them wives and two others their maids, and all of them in conflict. He experiences true love only with the wife he does not himself love, and then refuses to countenance repeating the emotion. But she provides him with the children he needs to secure his ambition. His true love, meanwhile, does not conceive and becomes so racked with self-doubt and destructive jealousy that she can express little feeling and certainly no love for her husband.

Thus Jenny Diski achieves her own goal of creating drama out of a well-known story and thereby creates characters that are rounded, real people, their obvious humanity belying their myth. What she does not do is attempt to generate a sense or feeling of place. Though we travel with the semi-nomadic action and live alongside shepherds and specialist livestock breeders, we are never allowed to taste the foods they eat, smell the homesteads they inhabit, or walk the hills, deserts or plains with them. Jenny Diski keeps us within their minds, their motives and their fears. This is not a shortcoming of After These Things, merely an observation of a limit the author no doubt consciously placed on its scope.

After These Things is already a novel with breadth of story and depth of analysis. To have made it also a descriptive, deliberately sensory portrayal of a time and place would have been a gargantuan and ultimately self-destructive task. It would have detracted from the books focus on human relationships and also, crucially, sited the events in a particular time and place, thus undermining their continued mythical status. And when confronted with an editor who must keep pace and plot in place, it was probably a potential aspect of the book that had to give. After all, in the end there is always the Great Editor, the one true opinion that demands both first and last word. calls the tune, pays the piper and laughs last. And so via an Old Testament myth presented as history, or even vice-versa, Jenny Diski creates a thoroughly modern drama of relationships, ambitions, resentment and fulfillment. Driven people do things they feel are demanded of them both by history and identity. And everything is underpinned by an eventual morality and justice, a restatement of human failing and vulnerability. He who tricks his way to wealth is himself tricked into marriage and then, at last, by his own sons, who themselves resent the favouritism bestowed on a brother. They offer the father the son’s bloodstained coat of many colours and thus, in their own way, get their own way. Some things do not change, cannot be edited. 

On The Yankee Station by William Boyd

On The Yankee Station by William Boyd is a series of short stories, the longest of which provides the title for the set. This particular story is a superb piece of short fiction, much more than a short story, confronting, in less than twenty-five pages, several big issues and, at the same time, drawing its characters in considerable, complex detail. Set on an aircraft carrier in the South China Sea during the Vietnam War, it describes the antagonistic relationship between two crew members.

Pfitz is a pilot, conscious of and grateful for his perceived and actual status, a status he does not hesitate to assert to his advantage. But this tendency is sometimes exercised to excess. It is as if he needs to feel the elevation of his status in order to bolster his own self image. In short, he is a bully. This characteristic begins to dominate his thoughts and actions when events conspires to question his own competence, his right to that nourishing status.

Lydecker is a member of Pfitz’s ground crew. Suffice it to say that Lydecker is not at the intellectual end of the fighting machine. Neither does he hail from privilege. Quite the contrary, in fact. Lydecker, had he not joined the navy, would probably have grown into a complete bum, at best one step up from a down-and-out. Even in the armed forces he can only aspire to the most menial of tasks, but he is at least thorough and tries to keep his nose clean. But for Lydecker events conspire to heap suspicion on his competence, a suspicion constantly fuelled by a torrent of abuse and accusation that flows from Pfitz, the pilot it remains his responsibility to service.

Pfitz likes his job. That much is clear. He takes a particular liking to napalm and delights at the idea of heaping tons of the stuff from his jet onto the population of rural Vietnam. He takes involved interest in technical improvements to his preferred weapon, improvements that ensure the fireball sticks firmly to anything it encounters, thus guaranteeing that it will burn right through. If he were closer to the action, one feels that Pfitz would delight in the smell, the mixture of burning organics saucing the suggestion of roast pork emanating from oxidised human flesh. He takes that kind of pride in a job well done. Lydecker is demoted, effectively humiliated by the time he gets an opportunity for some shore leave.

During his week in Saigon he remorselessly pursues two forms of recreation, one out of a bottle, the other between whatever sheets are on offer. But there is one girl who is different, staying remote from the business of others, busying herself about her own affairs. She is treated with apparently universal and complete contempt and she alone amongst the bar hangers-on is never on the menu, her meat not for sale. Bullied himself in the workplace, one might expect Lydecker to sympathise with her plight. But he treats her with as much – if not more – disdain than the rest and, eventually, it is more out of spite than either sympathy or desire that he insists on a session with her, forces himself on her merely to underline his right to assert assumed control.

What Lydecker subsequently experiences with that girl changes his view of the world just a little, but enough to influence events elsewhere, his new-found conscience constructing a plan he might employ back on board. In a short story, William Boyd illustrates class systems embedded in the USA’s professedly classless society. He confronts the so-called clinical nature of modern warfare by identifying the blunderbuss of terror that maims everything in its indiscriminating line of fire. He characterises sadism, vengeance, conscience and retribution. He draws sketches of exploitation, both economic and social, and illustrates how communities, even whole societies, can be seen as built on a crass and ruthless assertion of domination for domination’s sake. And all of this happens in less than twenty-five pages. Other stories in the set are also of a very high standard. To review them all would reproduce the book, no less, for they are succinct, often surprising, sometimes humorous pieces which together form a supreme achievement. 

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Fatelessness by Imre Kertesz

Some writers try to shock. At least it often seems that they embark upon a novel with that in mind. They create books set in times of conflict, amid war or pestilence, where the context is vivid, horrific or even repulsive. And often it is so well known that we engage with the setting, the context or scenario, rather than the plight of the characters. Or sometimes writers deliberately try to portray the unsavoury, often attempting to present sadistic brainlessness in a form that suggests anti-hero, ignoring the requirement that such a character needs at least some aspect of the heroic to deserve the name. These bite-sized pieces of nastiness are thus presented in a form that is easily digested in the end, the product usually attaining only triteness. Meanwhile others try to deliver blood and guts, their raison d’etre, as a means of eliciting revulsion and shock in the reader.

And then sometimes – rarely, in fact - we are presented with the truly shocking in a matter of fact way. Solzhenitsyn’s One Day in the Life of Ivan Denisovich might fall into this category. The narrative just about never asks why anything happens; it just does and we, the readers, along with the subject of the story go along with whatever is demanded. We are invited to experience the unacceptable alongside and along with the characters, and in doing so we are invited to confront what we ourselves might have done in such circumstances.

These books locate the reader within the experience, never merely tell us about it. In Fatelessness by Imre Kertesz the writer elevates this form to another level. Not only are we presented with an inexplicable, an unrationalisable concentration camp experience of a fourteen-year-old Jewish boy, we are also presented with a character who apparently can neither feel nor express malice. As he wastes away, we are constantly confronted with an empathetic version of ourselves. Would we have reacted in this way? Would we have merely gone along with things, cooperatively, like this? Or would we have rebelled? Would we have had the guts to stand up? And what would have happened if we did? Could we have watched ourselves starve to death? And if we were to find ourselves required to do it, would we then react? Would we rebel? And if so to what purpose? And would we have survived?

Fatelessness is the story of Georg Koves, a Jewish boy from Budapest, who, one day, is diverted from his journey to work along with his mates. No-one bothers to tell the group what might be happening or where they might be going. Georg, however, goes carefully and cooperatively along with everything his directors ask. He makes train journeys, works in concentration camps, falls sick, recovers and survives, though perhaps his society does not. Names do not matter where he goes. Numbers identify, provide a pecking order of privilege that offers no more than survival into another day. But to be merely near one such survivor endows real kudos, if only by proximity of association. Throughout Fatelessness one is confronted with a question. How might I have coped? Would I have done the same as this ultimately trusting, suffering lad? Would I have survived? And if I did, or even if I did not, would I have used the same or similar resources as this hero?

Fatelessness is a harrowing read, though it never sets out to shock. Life takes you where it goes, irrespective of whether it starts in a privileged family in New York or a ghettoed Jewish confine in 1940s Budapest. One makes of life what it presents, be it wealth, riches, starvation or death. And that’s that. It’s the detail along the way that makes the journey, however.

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The Blind Assassin by Margaret Atwood

Sometimes, when reading a big book, one gets the feeling that the author set out to achieve size, as if that in itself might suggest certain adjectives from a reader or reviewer – weighty, significant, deep, serious, complex, extensive, perhaps. Sometimes – rarely, in fact – one reads a big book and becomes lost in its size, lost in the sense that one ceases to notice the hundreds passing by, as the work creates its own time, defines its own experience, shares its own world. Even then, reaching the end can often be merely trite, just a running out of steam, the process thoroughly engaging, the product, however, something of a let down. Rarely, very rarely indeed, one reads a big book that actually needs its size, justifies itself, continues to surprise as well as enchant and then, finally, stuns. Margaret Atwood’s Blind Assassin is such a book, a giant in every sense, a masterpiece beyond question. 

Blind Assassin was awarded the Booker Prize in 2000 and charts intersecting histories of two well-to-do Canadian families, Chase and Griffen. The two Chase sisters, Iris and Laura, are quite different people. Born into the relative opulence of a Canadian manufacturing family, they have a private education of sorts, experienced throughout and yet alongside something vaguely like a childhood. Various aspects of twentieth century history impinge upon their lives and eventually force their family to reassess its status. Economic downturn, war and family tragedy take their toll on the father, who becomes less able to manage either his own life or his business. Something has to give. Ways of coping must be found. 

Iris, the elder sister, is the first person narrator of about half of the book, the other half being devoted to a book within a book, a novel in the name of Laura, the younger sister. This novel, entitled The Blind Assassin, is an eclectic mix of experience, sex, fantasy and politics. It has made a name for Laura and retains a significant cult following many years after its publication. Laura, herself, died in a car accident. She drove off a bridge into a ravine. The car belonged to Iris. 

There was never any real explanation for the event. Iris, meanwhile, has been married off to an older man, a Griffen, who seems to treat her like so much chattel. But then he is an industrialist with the wherewithal, not to mention capital, to assist the bride’s family business in its time of need. Iris, therefore, experiences the Canadian equivalent of an arranged marriage. 

Perhaps the word marriage is a little overstated. The partnership could be better described as a merger, or a union, if that were not a dirty word because of its political connotation. And so the octogenarian Iris, clearly anticipating the end of her days, embarks upon a cathartic outpouring of personal and family history in the hope that an estranged granddaughter might just understand a little about other peoples’ motives. 

The book takes us through Canada and north America, across to Europe, via an imagined universe, to political commitment, direct action and its inevitable reaction. Iris needs to write it all down. And so she works her story out, constructing it, perhaps reconstructing it, maybe inventing it from memory and relived experience against a backdrop of contemporary Canada and her own failing health. Her vulnerability, in the end, is our debt, our penance, perhaps. She is a wise old woman with much to hide, but her acerbic wit is undiminished by age, her observations of others stunningly perspicacious. It is not often that a novel, a mere flight of another’s fancy, achieves the subtle, stunning and surely enduring power of the Blind Assassin. 

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The Millstone by Margaret Drabble

Rosamund Stacey is the first person narrator of her own story in the Millstone by Margaret Drabble. Rosamund is a single mother – nothing strange about that, perhaps, at least in a twenty-first century Britain where now half of births are outside of marriage. But in the early 1960s, when The Millstone was written, unmarried mothers were not so common and it was a status to which considerable stigma was attached. Consequently, when Rosamund visits hospital for her regular check-ups, she is summoned from the waiting room with a call of Mrs. Stacey in an attempt to maintain the privacy of her status. She longs for the day – and not too distant – when her thesis on Elizabethan poetry will be complete and she can prefix her name with Dr., thereby avoiding the deception.

The Millstone is written in Margaret Drabble’s conversational, yet dense style. The characters are highly complex and seem to live their lives with a devotion to intricacy. Not much happens to them, however, and events are few and far between. Rosamund’s life is a case in point. It was Cambridge, of course, followed by the relative comfort of a flat in central London, an apartment provided by her parents calculatedly close to the British Museum, where she does most of her research.

She is definitely not the run-of-the-mill young lass who attends university nowadays, our Rosamund. She has a boyfriend at college, of course, but they never sleep together, not even on the occasion they jointly plan to accomplish the act. Rosamund is not really into sex, she thinks. She has a tendency to see herself as an object from without, and her observation of the absurdity of various aspects of being human lead her to a life slightly removed from reality, lived apparently at arm’s length from experience. Though she sees quite a lot of Joe and Roger – both quite different but eligible males – the idea of anything other than a chat and a drink appalls her. Each of the two men, of course, think that the other is the boyfriend and so are loath to raise the subject.

Then, for some reason hardly known to herself, she takes up with George, a gay radio presenter, and sleeps with him. Just once. And yes, Rosamund is definitively pregnant. As ever, she cannot decide what to do and, even when she eventually plans her course, she is blown off onto a different tack. She has read that drinking a bottle of gin in a hot bath might do the trick. She sets an evening aside. And then, just as the bottle is opened, friends turn up, she offers them a drink and they share the otherwise-ntended gin between them. Rosamund is thus never really in control, despite appearing to have a strangle hold on her life. Circumstances always seem to conspire to prevent her getting precisely what she wants.

But this is eventually seen as an illusion. Perhaps she does get precisely what she wants, but does not tell us, or herself. And so Octavia is born. The baby is a life that Rosamund contemplated ending, but when the child is ill, the thought of her coming to harm is too painful to admit. A friend, Lydia, moves in, shares the costs and sets about writing a novel. When this is complete, an unsupervised Octavia tears much of it up, though perhaps not disastrously. Rosamund reminds us that babies are persistent, not thorough, so most of the pages are preserved. It becomes the mother’s trauma, however. Rosamund could be described as measured, always apparently in control, yet always feeling she is swept along with the tide. Passionate she is not.

When George, who still does not know he is Octavia’s father, says she might do well with a husband, Rosamund agrees, but only because it would be nice to have someone who could help to fill in the tax return. George is no better, since for his the purpose of marriage seems to be to provide someone to iron his shirts. It’s all terribly British. But the characters are beautifully drawn, expertly pitched against themselves and their relationships. The Millstone, thus, explores motivation and achievement, and the relationship between selfishness and selflessness. In the end, we are who we are.

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The Colonel’s Last Wicket by G V Rama Rao

The Colonel’s Last Wicket by G V Rama Rao is a delightful novel that uses scenarios and technicalities drawn from cricket to add poignancy to a gentle but moving story.

This is not a book about cricket. It’s a book about people, about their development, their motivation and their identity. At the plot’s core are Colonel Seth and Raju, the former a retired, decorated Indian Army officer. He is a widower, proud of his successful daughters, but still suffers a little when he contemplates what might have been. Despite his medals, he was never promoted to the highest rank; his beloved wife died; he never had a son. And he never achieved the distinction of playing first class cricket. 

Raju’s life has been a thoroughly different story, however. He is an orphan, living a life of poverty in a poor area. Of dubious parentage, even his peers and playmates regard him with some disdain. But Colonel Seth sees talent and potential in Raju when, by chance, he watches the boy playing a makeshift game of cricket in the stubble of a rice field. Seth takes Raju under his wing, encourages him and strives to bring his talent to fruition.

The book’s subtlety lies in how G V Rama Rao uses different aspects of cricket as metaphors to illustrate the nature of the boy’s and the Colonel’s struggles in their joint quest. There are plans to be made, risks to be taken, gambits to be played. The boy becomes a good cricketer, but not the top notch star his early potential promised. Like Colonel Seth, it seems, he is destined to achieve some, but not lasting recognition, a status perceived as merely “also ran”.

As the boy matures, the Colonel uses a variety of motivational tactics to stimulate his achievement. All of them work. All of them also fail, since they do not include permanence in their successes. When Raju meets the privileged and beautiful Usha, his adolescent male sensibilities respond, but again the positive effects she generates are manifest only when she is nearby. When she is not in attendance, Raju’s downside undoes all the good work. 

In contrast, Ramu, Raju’s friend and fellow protégé succeeds with apparent ease. He has a wealthy, comfortable background in contrast to Raju’s lowly origins and caste. Indeed Ramu seems starred with instant success. Raju, on the other hand, always has to do things the hard way and, despite his obvious talent, keeps missing out on the glory. G V Rama Rao skilfully and subtly uses this scenario to make simple but enduring comments about Indian society, considering religion, caste, class, commercialism, social change, honesty and identity. He identifies corruption, back-biting, recalcitrance and worse, all viewed through an apparent filter of relationships within the game of cricket, but all with far-reaching, society-wide significance. 

And so The Colonels’ Last Wicket is far more than a cricketing book. Through cricket metaphors it addresses some fundamental and serious issues relating to societal relationships and re-definitions. India has changed. Its cricket has changed, and these processes are accelerating. The Colonel’s Last Wicket suggests that its author is not totally trusting or appreciative of this change, but equally we are ultimately left in no doubt about the depths of his optimism, for ultimately it is the relationship between Colonel Seth and Raju, his ward, which endures. 

 

Willie The Actor by David Barry

At one level Willie The Actor by David Barry is a crime novel in which a ruthless criminal commits bank robberies. On another it achieves the feel of dramatised documentary, for its eponymous anti-hero, William Sutton, is not fictitious and lived a real life. David Barry introduces us to Willy in 1923 and we bid him farewell in 1976. And it’s a farewell that is fonder than the reader might have been expected at the outset. 

Willie The Actor is not a “who dunnit” in any sense, because at no point in the book are we left in any doubt about who is perpetrating the robberies. We even have an insider’s description of his crimes, a rationale and a plan for their execution. It’s Willie, of course, who is behind them. They are his claim to fame, a fame that the novel fills out. 

Willie, or William, or Bill – however we meet him – did not commit one of the robberies, however, and that one proves to be a particularly important one for him and his future. In this case we find him falsely accused and wrongly convicted. He was innocent and yet he was positively and definitively identified by a string of eye-witnesses. A touch of irony here. Willie The Actor is not even very good at being a criminal. Yes, he succeeds in the short-term and money passes through his hands. But then he always fails, in that he usually gets caught. Bill Sutton’s first forays into armed robbery are facilitated by rented outfits by means of which an accomplice impersonates various forms of officialdom. To cover their rental of this gear, the pair establish a bogus theatre school, an operation that obviously needs to rent costumes on a regular basis. Hence Bill Sutton is labelled with his nickname, Willie The Actor, in media reports of his antics. 

But still, he is a criminal. He mixes with some unsavoury sorts, hoodlums, gangsters, extortionists, racketeers. Many of these acquaintances, partners or employers think nothing of shooting to get their own way. They maim, kill and deform human obstacles that even threaten to bar their path. But not Willie. He is different. He is an almost honourable thief who might threaten violence but never uses it. He even displays a gentility, a compassion which eventually allows him to go straight for a number of years, holding down a poorly paid job in a care home for the elderly. David Barry’s portrayal of this enigmatic character is subtle in that his criminal is always on the brink of achieving a respectability for which, we sense, he yearns. He is capable of love, whereas his partners in crime often exploit and oppress their women. He could have become a devoted and loyal father, but circumstances apparently require him to take a different route. 

And, perhaps most enigmatically of all, he might even have aspired to academic achievement, as evidenced by his life-long love of literature. But it is not to be. In the end Willie is both debt-free and penniless. He has harmed no-one directly, but also perpetrated serious criminal acts. He has realised none of his talents, but has achieved undeniable infamy. And eventually he aspires to the humdrum commonplace of the ordinary, a luxury his apparent need to rob has previously always denied him. David Barry conveys this complexity with a true lightness of touch. We never really get to know William Sutton, however. This is not a criticism of the book, because we are left with the impression that neither did anyone else.