In therapy they go straight after the mother. Elizabeth Strout, ‘Olive Kitteridge’

 

Photo: By Larry D. Moore, CC BY-SA 4.0, https://commons.wikimedia.org/w/index.php?curid=44665615

With Christmas visits and trips about to happen this will be my last post probably this year. I’d like to write more attentively about Elizabeth Strout’s 2008 novel Olive Kitteredge, Pulitzer Prize winner in 2009, but as time is pressing this will be an impressionistic piece.

Olive Kitteridge cover

My Scribner’s paperback edition, published 2016, still with the charity shop price tag stuck indelibly on the front

It’s a fragmentary novel in the form of thirteen linked short stories, each self-contained, usually about a different set of characters in the coastal town of Crosby, Maine, but Olive and her pharmacist husband Henry appear in all of them, sometimes as peripheral characters, in others their story – their fitful, troubled relationship with each other and their son Christopher – develops.

Olive is a difficult, irascible, moody woman, but gifted with surprising empathy. The opening story, ‘Pharmacy’, is a microcosm of the whole novel. It begins with the Kitteredges in their prime, some time in the sixties when ‘the hippie business was beginning’, and ends near the present day when Henry has retired. Henry at the story’s start employs a new assistant, Denise, in his pharmacy, and falls passionately, platonically in love with her. Olive, meanwhile, is subject to fits of emotional ‘darkness’ that distances her husband and surly teenage son. We learn that Henry finds his workplace a safe haven, like ‘a healthy, autonomic nervous system, in a workable, quiet state’, away from ‘any unpleasantness that may have occurred back in his home, any uneasiness at the way his wife often left their bed to wander through their house in the night’s dark hours’. Olive is clearly deeply troubled.

Henry is a long-suffering character it’s easy to warm to, with his perennially ‘cheerful’ nature, and his desire to make everyone happy – even his spiteful wife. Adolescent Christopher has some of his mother’s genes, for he snarls ‘angrily’ at his father near the story’s end:

“Why do you need everyone married?…Why can’t you just leave people alone?” He doesn’t want people alone.

The free indirect style throughout unobtrusively allows us into the main characters’ minds, as here with Henry’s. He can’t bear to see Denise or anyone else ‘helpless’; he wants to help. He needs help – and Olive provides it beautifully but, tragically, too late for him.

The story reveals that Olive’s waspish mouth and misanthropic impatience with people is partly the result of her own unrequited passion for a fellow teacher at her school. The couple never speak about their sorrows or pain, for in their own way they love and need each other. Christopher’s angst, as the other stories unfold, is also explained by his frustration with his mother and her stifling love.

I’d like to say much more about the other stories – maybe I’ll return to them in the new year. All I have time for here, then, is this: a unifying motif or theme is the damaging effect that mothers have on their children. In ‘Pharmacy’ we learn that Henry’s mother had two ‘nervous breakdowns’ and had otherwise cared for him ‘with stridency’ – a word that suits Olive’s maternal style; Henry has to restrain her from giving Christopher too hard a time, and at one point she admits she used to hit him – not smack, hit. Yet her love for her only son almost overwhelms her, and she’s devastated when he moves away from New England with his first wife to live in California; it’s pretty obvious that Olive’s antipathy towards her daughter-in-law is reciprocated, and that Suzanne insisted on leaving. Christopher would not have resisted; when they divorce, he stays out west, and rarely even visits his parents. Tough love hasn’t worked for him.

When pharmacy assistant Denise’s husband dies, Henry cares tenderly for her. Olive is scathing in her dismissal of ‘mousy’ Denise – largely because she’s aware that her transparent husband has feelings for her. Olive acidly observes that at first she couldn’t see why Denise’s husband (also Henry) had married her, until she saw young Henry’s mother at his funeral.

“…he married his mother. Men do.” After a pause. “Except for you.”

It’s typical of the subtlety and psychological insight into her complex characters that Elizabeth Strout reveals in this way how the dynamics of relationships both reveal and conceal truths. Olive is no doubt right about Denise, her husband and his mother; but does she realise that her Henry, too, has married a neurotic, volatile, potentially suicidal woman like his mother? Such self-awareness eludes her, or she swerves away from it, despite her frequent, surprisingly warm empathy for and insight into other people.

In ‘Security’, late in the novel, Olive visits Christopher and his second wife, Ann, in New York City, where they’d followed their therapist (he’d needed one after living first with Olive, then with Suzanne; he’d married his mother that time; Ann is the opposite: vapid, colourless, but damaged in her own way; he’d learned his lesson). The visit is a disaster. Olive detests Ann, and says on the phone to Henry:

“They’re ok, but she’s dumb, just like I thought. They’re in therapy. She hesitated, looked around. “You’re not to worry about that, Henry. In therapy they go straight after the mother. You come out smelling like a rose, I’m sure.”

As before, she shows a startling flash of insight here, while at the same time seeming in denial about the devastating impact she’d had on both her son and her husband. The rueful self-deprecation morphs in typical Olive fashion into an attack on Henry’s benign nature, the opposite of hers.

This quiet, becalmed coastal town of Crosby, Maine (Strout herself was born and raised in Portland, Maine) is the kind that Stephen King might set up for horrific, supernatural mayhem to unleash itself on. Elizabeth Strout prefers a quieter, more insidious kind of hell – the hell of a woman’s seeing her husband suffer a stroke, be emptied of his humanity, and ultimately die. A mother’s realising that the son she adores has been so alienated and intimidated by her acerbity that he dislikes her.

There are many other broken, suffering characters in this novel, and suicide is often not far from their minds, but it usually manages to avoid becoming depressing. There is redemption for most of them, often in surprising places and people. In ‘Incoming Tide’, for example, Olive manages to quell a former student’s suicidal thoughts by revealing with sympathy that she knew his mother killed herself, as her own father did. When he rescues a former classmate of his from drowning in the ocean, we realise she had probably jumped, for she too had tragedy in her life: she’d been unable to become a mother. Their salvation is mutual, reciprocal, and the prose that reveals all this is meticulous and satisfyingly understated.

I’ve only scratched the surface of this multi-faceted, carefully crafted novel. I recommend it – but it’s a bumpy ride.

 

Falls the shadow: Sylvia Plath, The Bell Jar

Sylvia Plath, The Bell Jar. Faber: 1963.

Sylvia Plath was born in Boston in 1932, which made her 31 when her only novel was published, shortly before her suicide. According to Ted Hughes she began writing it in 1961.  As a consequence of the similarities between the story of her protagonist, Esther Greenwood, and her own, it’s tempting to see it as at least semi-autobiographical. Let’s avoid that temptation.

This novel has been so widely written about – it’s often featured on the syllabus of schools and universities, and is seen as a seminal work of feminist fiction – that I shan’t give a detailed plot summary. Instead I’ll pick out a few points that interested and pleased me.

Its opening lines have become a famous example of the intriguing ‘hook’:

It was a queer, sultry summer, the summer they electrocuted the Rosenbergs, and I didn’t know what I was doing in New York. I’m stupid about executions.

The candid, tortured first-person narrative voice is distinctively Esther’s – the seemingly casual ‘and’ tellingly links as grammatically equivalent two events of otherwise striking difference; the syntax shows that for the narrator they’re not. That reference to the execution of the couple convicted of spying for the Soviet Union on America’s nuclear capacity (a charge still contested by many) dates the narrative 1953. It also sets up one element of the novel: the tensions and bigotry in America at that time. (Later, one of Esther’s colleagues called Hilda displays a chillingly dismissive attitude towards this execution: ‘It’s awful such people should be alive,’ she says with casual disdain. ‘I’m so glad they’re going to die.’ Esther’s own views, characteristically, aren’t explicitly given, but it’s clear she finds such views symptomatic of her fellow Americans. She refers to Hilda as speaking here with the cavernous voice of a ‘dybbuk’ – a malicious mythological spirit.)

Sylvia Plath, The Bell Jar cover

My Faber paperback edition of the novel

That impersonal structure – ‘they electrocuted’ -shows her sense of detachment from the events, however; she doesn’t share the paranoia, it registers less strongly, as the structure of that opening sentence reveals, than her personal sense of dislocation. This is a compelling, often terrifying narrative of an intelligent, diligently academic young woman’s decline into a depression that almost destroys her.

That second quoted sentence sounds like the callow bravado of Holden Caulfield – and there’s more than a touch of his equally distraught sense of hopelessness and disorientation in this narrative. Some early critics dismissed it as ‘girlish’, perhaps (patronisingly) misreading that naïve style, laced at times with contemporary teen slang, and the gushing, breathless ingenuousness, especially in the early, pre-institutionalised section of the novel; here’s and example, chosen at random, from p. 48. Esther has been set up with a date with a Russian interpreter at the UN called Constantin:

I collected men with interesting names. I already knew a Socrates. He was tall and ugly and intellectual and the son of some big Greek movie producer in Hollywood, but also a Catholic, which ruined it for both of us.

But this faux-naïve style is essential for the establishment of Esther as a 19-year-old trying to locate her identity and place herself meaningfully in the heedless world she’s discovering for the first time. She flirts with all kinds of personae, even considering becoming a nun at one point.

Her other equally compelling dilemma is that of losing her virginity in a world where all the men she meets are insensitively arrogant, like Buddy, the harmless but vapid student from her home town whom she considers herself engaged to, or the Peruvian thug Marco, who tries to rape her. Esther isn’t so naïve; she pegs him from the start as ‘a woman-hater’, and steals his diamond ‘stickpin’. Esther still has spirit at this point. She can even see why some women might be attracted to such misogynistic predators:

Women-haters were like gods; invulnerable and chock-full of power. They descended, and then they disappeared. You could never catch one.

This might sound ‘girlish’, but it’s perceptive and, in a sense that still resonates today, realistic. Although it maybe shows an aspect of Esther’s dwindling self-esteem, it’s also redolent of her core values. The Marcos of this world, she realises, are the same ‘they’ who executed the Rosenbergs.

In the first part of the novel we witness the cause of Esther’s problem: she doesn’t know why she’s there in the city in the coveted role as intern at a women’s fashion magazine that has pretensions of literariness. Though she can’t quite articulate it in this part of the narrative, she hates the shallow pointlessness of the work she’s obliged to engage in and the people she works with. Her ambition to write serious literature is stifled so effectively by those around her, including her mother, so ambitious (like everyone else) to mould her daughter into the Stepford Wife form she considers desirable, to realise she’s missing the signs of Esther’s distress, that she simply switches off her consciousness, loses agency. Eventually she comes to feel she’s suffocating under a bell jar, like a scientist’s specimen, and attempts suicide.

Esther avoids the company of the ‘Pollyanna’ faction in the girls’ hostel she lives in during the novel’s first section; she longs to be a rebel like her friend Doreen. But she also realises that Doreen’s idea of a good time ends with her serving as a drink-sedated groupie for a sleazy DJ. All of her female contemporaries are happily speeding into spirit-destroying patriarchal dead ends. There seems no route open for someone with her gifts and sensibility.

The second section is harrowing, the language full of images of death, fear and disintegration. Here the narrative reminded me of One Flew Over the Cuckoo’s Nest: Esther is subjected to a terrifying ‘treatment’ of ECT by her first psychiatrist. Later she’s moved, thanks to her scholarship benefactress, to a more humane institution where a more enlightened woman doctor finds a way of leading Esther back into her true self. Along the way we’re given frightening glimpses into Esther’s abyss:

I thought the most beautiful thing in the world must be shadow, the million moving shapes and cul-de-sacs of shadow. There was shadow in bureau drawers and closets and suitcases, and shadow under houses and trees and stones, and shadow at the back of people’s eyes and smiles, and shadow, miles and miles and miles of it, on the night side of the earth.

Esther’s truly is a descent into hell. Narrated not ‘girlishly’, but with a poet’s ear and eye, as that last quotation demonstrates with its numbed, rhythmic repetitions and deceptive simplicity of structure. The reiterations and grimly cumulative ‘and’ clauses and phrases show how dangerously alluring and ubiquitous the deadening abyss appears to a lost soul like Esther – it’s everywhere she looks. This passage is similar in its barely suppressed hysteria and atrophied bleakness of tone to the desolate insight articulated in Eliot’s ‘The Hollow Men’, ‘Between the motion/And the act/Falls the Shadow.’

 

 

 

 

Can one trust a sonata? Charles Newman, In Partial Disgrace, pt 2

[Of the Professor v. Felix:] The difference between them, after all, was that the Professor truly believed he was the first mortal to set foot in the mind, and like every true colonial assumed that mere priority allowed him to name it and submit it to his laws.

 Like Sterne’s protagonist, Newman’s (Iulus) talks endlessly about his father, Felix (Protestant ‘Marxisant’ and advocate of ‘hands-on mysticism’, who ‘liked it out there on the edge…where one could write in order to stop thinking, and lose the shame of being an author’); here’s some of his advice to the boy:

1. Neither marry nor wander, you are not strong enough for either. 2. Never believe any confession, voluntary or otherwise. And most importantly, 3. [In Latin first, then in English:] Everyone has a cleverer dog than their neighbor; that is the only undisputed fact.

Psalmanazar's Formosa

An illustration from Psalmanazar’s phoney account of the people of Formosa – as fantastic a fake memoir as those of Felix and Iulus. Picture via Wikimedia Commons

Then there are the Pynchonian names of the central characters: Felix Aufidius Pzalmanazar, the ‘Hauptzuchtwart [dog-breeder] Supreme’ and ‘historian of the Astingi’ – a fictitious tribe of the central European plains, in the country of Cannonia (where at dusk ‘everything is the colour of a runaway dog’!), loosely equivalent to Hungary – alludes to the French impostor or con-man, Georges Psalmanazar (1679-1763), who became a brief sensation in Augustan England with his exotic traveller’s tales of ‘Formosa’ and his fake memoirs – a prototype Felix (or Newman).

Much of the novel consists of long, Socratic ‘savage debates’, a ‘battle of the polymaths’, a ‘rhetorical onslaught’, between the sceptic-stoic Felix (who claims, in a typical paradox, that ‘Dialectics do not interest me, though like ballsports, I am good at them’) and his soulmate-antagonist, the Professor, ‘the master speculator’ as Felix provocatively calls him, a thinly disguised Sigmund Freud, who brings a series of disturbed dogs to be analysed and trained by the renowned dog-trainer/breeder – a clear dig at the failings of psychoanalysis, for the Professor can’t cure (or even understand) his own neurotic dogs (see the quotation at the head of this post, which sums up the philosophical difference between them):

“You’re no Jew, Berganza,” he often giggled, “just a Calvinist with a sense of irony.”

Another of those literary allusions with multiple levels of significance is Felix and the Professor being likened for these endless Socratic disputes by Felix’s wife, Ainoha (possibly a name derived from a Basque place-name known for its image of the Virgin Mary, and girl’s name, Ainhoa; or is it just a pun on ‘I know her’?) to Scipio and Berganza: these are the two dogs whose satiric colloquy, with its rhetorical-polemical format based on Erasmus’ Praise of Folly, forms one of the Novelas ejemplares of Cervantes (1613).

I could say so much more about this novel, with its multiple layers and highly charged prose, and wide-ranging, esoteric-comic material, such as the Astingi people’s culture and religion – ‘savage and disconcerted’, Felix calls them), or aphorisms like ‘You can get away with murder in America, but only in Europe can you be really bad’. But it’s more than just a clever puzzle or palindrome of wordplay (though there’s nothing wrong with that) – there’s some interesting insight into Newman’s views on the writing (and reading) process, with which I’ll end (having touched on it briefly in my previous post).

Newman In P Disgrace coverIn a chapter called ‘Ex Libris’ Newman gives Felix’s son Iulus’ account of Felix’s huge literary project: to write a history of the Astingi disguised as a Traveler’s Guide ‘in order to make a market for it’ – which sounds like a dig at American publishers. His description could serve as a heartfelt insight into Newman’s own obsessive, meticulous, never-ending collector’s writing methods and technique:

Working at top speed, he usually produced about one hundred and twenty sentences of impossible terseness per night.

He goes on with what looks like a self-portrait, and a grim discussion of what In Partial Disgrace cost to write:

Writers are people who have exhausted themselves; only the dregs of them still exist. Writing is so real it makes the writer unreal; a nothing. And if one resists being a nothing, one will have the greatest difficulty in finishing anything.

Nor did I know that in his hyperfastidious, shamelessly private mind, he was envisioning a nonexistent genre. For no one ever writes the book he imagines; the book becomes the death mask of creation, it has its own future and survives like a chicken dancing with its head cut off. And the spy knows this better than anyone; to write anything down is to take colossal risk. In life you can mask your actions, but once on paper, nothing can hide your mediocrity.

Ouch.

Later, when shadowy CIA spook Rufus is reflecting on his (triple) agent Iulus’ reports, this is his conclusion:

Of course, there will be those who will ask how far can we trust such a narrator? This is rather like asking the question: can one trust a sonata?

Perhaps Rufus has come to see, after his time in the ‘inchoate’, counterintuitive province of Cannonia, that the usual modes of perception, representation and philosophy don’t apply. And that goes for the ways we interpret written texts: genre and verisimilitude are irrelevant, delusions. Here he considers how the Cannonians and ‘their Astingi comrades’ love ‘puzzles and the darkest riddling’:

…for thinking in their view is not real thinking unless it simultaneously arouses and misleads one’s expectations of symmetry. But their love of riddles has a moral dimension which is easily missed; games for them are also always ethical tests.

When Iulus hears the final colloquy of the Professor and Felix, in which his father, whose life’s literary work has blown away on the wind, fiercely denounces conventional historians (and warrior-thinkers like Marcus Aurelius), he (Iulus) is deeply impressed:

Thus ended my aristocratic education. I had learned everything I needed to know for my career. For life with friends and lovers is essentially this: that we assist each other in recovering and rewriting the book which is always blowing away, when the words don’t mean what you say.

An equally apt summary of the novel and novelist is given with Rufus’ verdict on Iulus and his writings, who he knows to be more than just ‘turncoat, nor a cipher, cryptographer…dissembler, or counterfeit’; he’s reflecting, as most of this novel does, on the nature of narrative:

How I would miss his profound but smiling pessimism, his nacreous intelligence, this fideist to the school of gliding. He was one of those strange people who, having rectitude, didn’t need freedom. Even now, rereading his scattered cantos, it is as if he is sitting in the room talking personally with me, the secret of all great writing.

Against system: Charles Newman, In Partial Disgrace

 Charles Newman, In Partial Disgrace. Dalkey Archive Press, 2013. Paperback.

 The best I could do was to put real people into situations that probably did not exist, which after all is what history is all about.

This is an extraordinary novel, and will need more than one post. This one will be a sort of introduction.

Charles Newman (1938-2006) had produced several novels by the time he started In Partial Disgrace [IPD], late in the 1980s. As Joshua Cohen explains in his introduction to the Dalkey Archives edition, he excelled as a young man at sport, later at sexual promiscuity, drinking, breeding hunting dogs, and writing (characteristics found in his character Felix, his alter egotist, about whom more shortly).

After university (Yale, Oxford) and military service he reluctantly entered upon an academic career, turning the standard Northwestern campus magazine TriQuarterly into a stellar fixture in American literary life, championing such writers as Borges, Barth, Coover, Gass and Márquez. Their experimentalism (postmodernist, perhaps) was to inflect his own writing.

He visited Hungary frequently, and riskily translated and published there. The setting of IPD is the invented, economically struggling province of Cannonia in the kingdom of Klavierland (more on that later, too), a fantastic land of swampy plains and forests, bounded by a meandering river like the Danube, a setting very like Hungary – but also like a Viennese piano. It’s that kind of novel.

Charles Newman

Photo of Newman: attribution – By Harold Doomsduck – vacation, CC BY-SA 3.0, via Wikimedia Commons

Newman may have been able to travel so freely behind the Iron Curtain because of murky connections with agencies of espionage – another central theme in this novel, as we shall see.

He spent decades revising and expanding this wayward novel. His nephew, Ben Ryder Howe, tells us in an editor’s foreword of Uncle Charlie’s chaotic, obsessive methods. Slips of paper, many containing just single words, short phrases or ‘mystically oblique’ sentences, were taped into notebooks or tacked on the walls. This collection of papers expanded as his magnum opus, part Cold-War spy-thriller, part fake memoir/history/philosophical-rhetorical tract, reflected the fact that Newman was becoming bogged down in research (a trait familiar to anyone who’s ever written anything) – arcane diaries, memoirs, letters, folktales, histories… All turn up in various guises in IPD.

 Eight years after his uncle’s death Howe found in Newman’s New York office another vast jumble of papers and obscure source texts. The MS was stuffed in boxes, envelopes and elsewhere, innumerable, jumbled drafts. Howe had somehow to rearrange and edit this deluge of papers into some kind of coherent order. (I’m reminded of the task facing the editors of the various redactions of Pessoa’s Book of Disquiet, which IPD resembles slightly in tone, fragmentary structure and elegant literary style.)

Newman’s original ambitious plan was for a massive sequence of maybe nine novels divided into three volumes. The first was to contain the story of Felix, the bankrupt Cannonian aristocratic owner of an abandoned, decaying former royal hunting estate called Semper Vero (a typical Newman joke: “eternal truth” is not a highly valued principle with Felix). He’d turned to being a ‘breaker of crazy dogs and vicious horses’ (hence his title of Hauptzuchtwart Supreme) to try to offset his debts. Vol. 1 was to feature his fractious friendship with the Professor, a psychoanalyst clearly based on Freud. It is set around the time of the close of WWII and the years of Cold War that followed. This is what was to become IPD.

Volume two would continue the story a decade later in Russia, relating Felix’s relationship with Pavlov, followed in volume three by his emigration to America. Newman became hopelessly enmired in a huge, rambling introduction to this vast work. All was description of setting and background; very little happened, and characters were hazily deployed. Rufus, the CIA agent, opens the novel in Howe’s recension by parachuting into this ‘hermit kingdom’ on a spying mission (America has declared war on Cannonia, and Felix’s son Iulus, a double or maybe triple agent, is his contact) — then he disappears for long periods.

He is the putative ‘editor’ and translator of the various narratives in the text, and tries (like Newman’s nephew – life imitates art) to summarise Felix’s 10,000-page MS, alongside the papers of Iulus, another redactor of his father’s work, which is the quixotic basis of IPD:

A memoir without hindsight? A meditation on the inherent wildness of history? A novel for people who hate novels?

This vast opus of Felix was thinly disguised by him as a ‘Traveler’s Guide to Cannonia’ – clearly a doppelganger of IPD, consisting as it does as a massive stash of random papers which at a key point are dispersed by the wind, many to be lost, those retrieved proving impossible to reassemble coherently. Felix himself, with characteristic, paradoxical disdain, describes it as an attempt to rescue Nietzsche from being “so damned Nietzschean”, a history of ‘the only people without a history’.

Newman In P Disgrace coverHowe has done a fine job in trying to create some kind of narrative order and logical structure from this disparate, enigmatic raw material – but the key weakness of the novel he’s reconstructed is its erratic or absent plot (although that’s also, arguably, its main strength: it’s about itself). That lack of action and tension noted earlier is mitigated, but there are still sections that come across as self-indulgent and inert – although even these are never completely tedious. Newman has a tendency to indulge his passion for elaborate Borgesian catalogues of imaginary, bizarre or everyday objects or concepts, or for eccentric zoological taxonomies like the anti-Darwinian ‘Scale of Being’ and ‘Tree of Life’ (in which dogs tend to appear at the top, not surprisingly in a canicentric novel).

IPD is then one of those novels which appear to conform to the conventions of prose fiction, in that they are not ostensibly ‘difficult’, but which are nevertheless cryptic or elusive, or which have surreal or non-realistic or fantastic/postmodern elements; Kafka and most of the novels of Pynchon fall among these categories, or the later works of Calvino (Invisible Cities). Gerald Murnane (another who feels an affinity for the plains of Hungary) comes to mind. And there are many more.

But the seminal work of this kind, and surely an influence on IPD, is Laurence Sterne’s Tristram Shandy (1759-67), also highly innovative, non-linear/fragmentary, eccentrically digressive (it takes three volumes for its protagonist to be born) and unconventional, yet heavily dependant on Burton’s Anatomy of Melancholy (1621, subsequently revised). Anatomy, as its name suggests, is another playfully earnest text of compilation, classification and erudite assimilation, not a coherent ‘narrative’. It, in turn, was influenced by the sprawling, endlessly accreting, fragmentary and digressive narratives of Rabelais and Cervantes.

Like Sterne’s protagonist, Newman’s character Iulus talks endlessly about his father, Felix (whose name in Latin signifies the opposite to the ‘sadness’ implicit in Tristram’s name).

IPD owes much of its style and method to such texts, and also to Newman’s idiosyncratic methods – hence its meandering structure, digressions, puns and paradoxes (time, like the Cannonian border river Mze, runs both ways, unpredictably), playful learned allusions (Marcus Aurelius and Heraclitus pop up regularly, wittily), disquisitions on all kinds of arcane and mundane topics, from venery (in both senses) to dog-training theory, psychotherapy to topography and military history), and so on.

So far, if you’ve stayed with me, you might be thinking this sounds terribly cerebral and obscure – but it isn’t, at least, not in a bad way.

Take it in small chunks, don’t binge. It doesn’t lend itself to rapid consumption; each rich phrase has to be weighed, sampled, savoured. Take for example the frequent aphorisms that adorn the text with little intention of making conventional sense or advancing the narrative, but which contribute to the novel’s own uniquely rewarding ambience, adding a kind of self-referential commentary on what the reader is engaged in reading, and the writer, writing:

I neither write a system nor promise a system, nor do I subscribe or ascribe anything to a system.

For a landscape to have grandeur, it must have a bit of nonsense.

 History is driven by failed artists.

 A man is nothing but a handful of irrational enthusiasms, and nothing in this world can be understood apart from them.

Next time I hope to examine characters, setting and style more closely.