Michael Flay, Closed Doors (Polar Books, Cheltenham 1999)
I’m sad to say that Mike passed away last month, far too soon. In his memory I’d like to devote some posts over the next few weeks – holidays will intervene so not sure how long it’ll take – to his published work. I’ve already posted about his novel The Persian Wedding.
Closed Doors, his first book to appear under his own imprint, Polar Books, appeared in 1999, which is when I last read it. Because of time constraints this past few weeks I’ve not been able to reread the whole collection of stories in Closed Doors, and will have to limit myself here to the first one: ‘The Mad Mother’.
It bears many of the features of the others, in that the main characters are unnamed, known only as ‘the mother’, ‘the daughter’, ‘the wife’, and so on. To confer a name would be to present them in too familiar or intimate a way. These are stories that throw a beam of light on to semi-concealed lives, like an entomologist opening up a termite nest.
There’s a bleakness or grim quality that runs through them. Here’s the opening sentence to this story:
She was living strange, giving things up, doing damage.
Mike’s style is distinctive: there’s a disjointedness in those three parallel participial phrases, a lack of agency (the absence of finite verbs after the first clause). That phrase ‘living strange’ is syntactically strange. The language, in other words, re-enacts the meaning and reinforces it. We are forced to confront that strangeness, the inertia of the structure.
The abstractions and omissions are notable, too. Who is ‘she’? In what way was her living ‘strange’? Which ‘things’ was she giving up, and why? What was the nature of the damage she was doing? These are stories that forensically examine the damage we do in our lives, the toxicity of relationships in a corrupt world in which power is wielded by the most corrupt people of all, and that poison sinks down on to all levels of society.
There’s perhaps too much tendency to use pathetic fallacy, but then these stories come from the tradition of Kafka via Lawrence and Dostoevsky. It’s psychological truth that is striven for, not poetic decoration. Hence the first pages sketch the physical scene only in terms that create the requisite atmosphere: ‘The streets were grey with rain’; ‘The block [of flats where she lives] was dismal, angular’, and from within it she could hear ‘a queer chuckling, female and gloaty’. Later ‘the landscape was grey, obscured, dead.’
This is the world of the underclass, the housing-estate sink. The narrative style has more of the features which will become familiar to readers of Mike Flay: those accumulating, dreary terminal adjectives; that Lawrentian, early-20C use of ‘queer’ in its non-sexual sense, which recurs half a dozen times in this very short story; the Keatsian habit of turning a noun into a neologistic adjective (‘gloaty’) by adding a ‘y’ to it. And of course, these details create a new, disruptive sense of unease – it’s as if the ‘block’ (there are many of these ambiguously named places in the stories) is doing the sinister gloating. The description of disembodied ‘selfish mouths opening and shutting in a black expanse’ (within the block) is reminiscent of Beckett and the abyss.
I shan’t go on here to summarise the story too closely. It involves an emotionally ‘blank’ and ‘deficient’ Swiss-German woman (abetted by her mother) exploiting a wealthy TV ‘celebrity’ (himself ‘full of rottenness’) in order to become pregnant by him, abandon the ‘weak’ husband and either increase their social security (state) benefits, or tap the man for some of his presumed wealth. The stories are set in a variety of locations: this one in Switzerland and briefly the UK. Meanwhile the women sit and endlessly, obsessively ‘talk over’ their ‘mad’ schemes and feelings. There’s a scathing critique of the self-indulgent kind of pseudo-feminism:
In her mind a female fixation circulated: she was an injured princess claiming her rights. She was justified: all her moods, her acts of spite, her small meannesses, were justified because she was female. It was best not to repress what you felt – this was the family tenet – or censor it…No criticism should be made, the female was sacred.
The free indirect style portrays the woman’s views, not the narrator’s. While she broods incessantly over her own feelings her young son is cruelly neglected, to the point of abuse.
This first story sets the tone for the rest. They are not a comfortable read. They intend to challenge and provoke. The disconcerting style works in the same way as the long lines of prose-poetry in the likes of Whitman and Lawrence’s verse: on the level of rhythm and juxtaposition rather than semantic sense. It’s a grim perspective and unflinching. Someone has to do it. Usually most of us look away.
Strangely, Mike had a wicked sense of humour. After any meeting with him one left feeling uplifted, enhanced and enriched, and there would have been a lot of laughter. In his writing, however, he was determined to anatomise the world in all its states, and to do that it’s necessary to contemplate the rottenness beneath the veneer of consumerist plenty.
Closed Doors is currently unavailable on the Amazon website (two of the novels are still in stock), but if you would be interested in acquiring a copy please contact me via the box on this site and I can pass on your message to Polar Books – they also have a Twitter account and Facebook page, so a message there should also work.