The Folded Man by Matt Hill

The cover of Matt Hill’s debut bears a quote by Stephen Fry, which tells us that the work within captures the “smell and essence of Britain”. This is a considerable claim but one that rings entirely true, despite the book’s post-apocalyptic premise. The Folded Man offers a frighteningly plausible rendition of the future, bleak and disturbing.  The city is Manchester, the year is 2018. The five year leap forward sees the country in ruins, plunged into social disorder, widespread deprivation, violence, crime and vigilante rule. We learn of this desolate new world through the book’s protagonist Brian Meredith, a drug-addled “cripple” reliant on the state which he fears and despises. It is both through Brian’s internal meditations and external experiences that Hill creates a chilling picture of the outside world – a phantasmagorical panorama which constitutes the backdrop of the story. Both dynamic and very craftily constructed, it compells the reader to fully immerse in the writer’s vision of the future, bereft of the social norms and conventions that govern modern Britain.

The Folded Man crosses several genres and defies exact classification, comprising elements of Sci-Fi, surrealism, traditional storytelling and experimentation. Hill locks a range of themes into a novel literary whole, defined by intricate plot turns, seemingly freeform dialogue and a prolonged sense of suspense. It is Hill’s ability to tap into our collective consciousness that lends the book much of its realism, and his dark imagination that turns a straightforward narrative into a dystopian riddle. But it is the book’s protagonist, Brian, that’s The Folded Man’s real strength. Albeit a highly divisive character, Brian is predominantly a victim. Wheelchair bound by a rare genetic condition called Sirenomelia (Mermaid Syndrome), he spends his time in his squalid flat watching the world on CCTV and eating his own hair. There are reasons behind Brian’s psychological idiosyncrasies, which Hill weaves into the plot seamlessly. We learn in vivid snapshots of his early life and his upbringing, his fears, desires and worries and discover a very complicated and downtrodden man, who has resigned from life until his mate Noah coaxes him into an outing across the city.

The pair’s excursion leads to a series of events and characters that are at times as bizarre as they are exhilarating. Hill fuses the real with the imaginary, the factual with the fantastic to create a world characterised by an eerie introverted externality. This eeriness also extends to Hill’s literary stylings, which give the book its narrative verve. Written entirely in northern dialect, The Folded Man is full of linguistic quirks, colloquialisms and staccato sentences, sometimes as short as a single adjective. “Brian’s in his chair – the wheelchair in the middle of his world,” writes Hill of his protagonist when he returns home from the outing with Noah, “All the days are the same. All day, every hour – trapped. The fat man in his yawning city. Ageing. Smoking and sleeping between damp walls and under bare bulbs. The fat man who sat through power cuts and water shortages. Listened to new riots and masked radicals on his telly. The same chair at the arse-end of Manchester, old capital of the north. The cold city, the blinking city.” The Folded Man is both a dark tale of humanity and a tribute to Hill’s home city. Manchester is very much at the heart of the novel – a city once great now reduced to an abject quagmire by an “endless war for love between the dead and dying”.

It is difficult to imagine The Folded Man being set anywhere else, just as it is difficult to imagine the protagonist being anyone other than Brian. This is a great achievement on Hill’s part, a writer whose style and subject matter may be considered challenging. But Hill is someone who didn’t set out to write a challenging debut, merely a book that came together almost miraculously inspired by his interest in folklore, urban legends and strange phenomena, his home town and some of the people he’s met there. Brian, for example, Hill told me recently, was partly a result of his experiences with “a close relative who had terrible hip problems from a very young age” and partly a product of his own imagination, fuelled by “one of those crap, slightly exploitative documentaries about a girl born with Sirenomelia”. Brian’s congenital disorder is as integral to the plot as it is to his character. “I wanted Brian’s condition to be as ‘realistic’ a treatment of the mermaid myth as possible,” Hill explains, “So even though the book veers away from reality (far, far away in places), there’s at least a medical grounding.” There certainly is that but there is also more – much more – than that to this intriguing debut which, as Stephen Fry said, has a “direct vividness that keeps one inside its totally realised world”.

The Folded Man is an absorbing and original work that falls into a somewhat nebulous field of literary production. Hill has a keen eye for topical peculiarity similar to the writers in the prophetic tradition, distinguished by their ability to penetrate surface-reality and delve into the deepest recesses of the human psyche. In line with this tradition Hill tells the story from an outsider’s perspective, which gives The Folded Man its disturbing immediacy. It also prompts the reader to question – or at the very least ponder – the validity of the moral, cultural and socio-economic structures that frame our society and the potential consequences of their abolition. J.G Ballard once wrote that “civilised life” is based “on a huge number of illusions in which we all collaborate willingly” and the trouble is that we sometimes forget “that that they are illusions and we are deeply shocked when reality is torn down around us”. Hill’s book serves as a stark reminder of this, urging us to look at the uncomfortable and unsightly possibilities behind those seemingly orderly and burnished optical trickeries.

Publisher: Sandstone Press 
Publication Date: May 2013
Paperback:  240 pages
ISBN: 9781908737342

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All That Is by James Salter

James Salter is one of few modern writers able to create equally compelling male and female characters. He says it’s because he has made a conscious “effort to nurture the feminine” in himself and in his responses to the world around him which “pure masculinity” often discounts. This very shrewdly cultivated skill is something one can clearly see in All That Is, rippling with atmospheric vitality and meticulously developed men and women vying for the reader’s attention. The story of Salter’s first novel in over 30 years revolves around former naval officer, now book editor, Philip Bowman and the people who drift in and out of his life. The book itself is primarily concerned with the nature of love, the hardship of relationships and the way in which people deal with both. After returning home from Okinawa and a stint at Harvard, Bowman meets and falls for a young woman by the name of Vivian Amussen. “He saw himself tumbled with her among the bedclothes and fragrance of married life,” Salter writes of Bowman’s daydreams, “the meals and holidays of it, the shared rooms, the glimpses of her half-dressed, her blondness, the pale hair where her legs met, the sexual riches that would be there forever.” Shortly after the couple tie the knot, however, Bowman learns that nothing lasts forever, especially marriage. Theirs sours rapidly as Vivian loses interested in her husband’s bookish whimsies, in his talk of high culture and his quixotic reveries.

With his marriage over, Bowman travels to London on business where he meets Enid Armour – a sultry South African English blonde with a chronic philanderer for a husband. The pair embark on an affair and following Bowman’s divorce travel to Spain to consummate their romance, to consolidate their fledgling love. It is here in his descriptions of cities and their poetry through the eyes of the lovers that Salter reveals himself to be a master of etymology and lyrical precision. His rolling sentences flow mellifluously from one page to the next, creating iridescent snapshots of García Lorca’s homeland, effortlessly integrating his story and the country’s history into the narrative. “He was…an angel of the re-awakening of Spain in the 1920s and ‘30s,” Slater writes, “[his] books and plays filled with a pure, fatal music, and poems rich in colors with fierce emotion and despairing love.”  Numerous historical elements and literary references are interwoven into the plot, adding to the wonderfully rich tapestry of Salter’s prose. Salter captures the glamorous milieu of Europe – Greece, France, Spain – in all its glory, through opulent literary ruminations over its present and its past. He goes from describing places to describing people in them with graceful fluency, connecting the two to create a larger, more vivid picture. “They went to Toledo for a day and then on to Seville, where summer lingered and the voice of the city, as the poet said, brought tears,” he writes of the two lovers in Spain, “They walked through walled alleyways, she in high heels, bare-shouldered, and sat in the silent darkness as deep chords of a guitar slowly began and the air itself stilled.”

This kind of tender evocation also extends to Salter’s images of the lovers in their most intimate moments. “The glory of her,” Bowman marvells looking at Enid, “England stood before him, naked in the darkness…He pulled her over him by her wrists, like a torn sheet.” But for all their passion, Bowman’s relationship with Enid eventually fizzles out and the two part.  Shortly after, he meets Christine Vassilaros and her young daughter. The pair fall in love and set up house, living in blissful domesticity or so Bowman thinks until one day Christine decides it’s over. Inexperienced, uncertain and self-doubting Bowman appears to be the very antithesis of a romantic lead and in many ways remains so until the end. He laments his incompetence with women from the start, blaming it on his absent father. There are nebulous questions over Bowman’s masculinity and there is but one moment in the book when he exercises its full force, revealing the truly chilling side of man. Wounded by Christine’s betrayal and humiliated by having to forgo the house they shared Bowman waits patiently to take his revenge, which comes as an unexpected twist in the otherwise linear plot. Salter brings the story to an equally unexpected close, which in many ways reflects the precariousness of life. “He had been married, once, wholeheartedly and been mistaken,” Salter writes of Bowman toward the end of the book‚ “He had fallen wildly in love with a woman in London, and it had somehow faded away. As if by fate one night in the most romantic encounter of his life he had met a woman and been betrayed. He believed in love – all his life he had – but now it was likely to be too late”. This rather reductive view is relegated by Bowman himself just pages later as he realises that it is, in fact, never too.

All That Is is a lyrical meditation on the human condition, replete with languorously poetic turns cut with fastidious precision. The book’s key themes evoke universal interconnections, between love and death, loneliness and companionship drawing the conclusion that one’s fate depends almost entirely upon oneself. Yet the book is much more than a romantic allegory, All That Is also deals with a number of other topics such as identity, social exclusion and inclusive alienation. The latter are diligently rooted in the plot. Bowman feels an outsider, an interloper at Harvard and a stranger in his American-Jewish social circles despite being inexorably linked to his friends and acquaintances by a shared cultural heritage. Bowman is the vessel through which Slater channels the search for one’s identity, in and out of relationships. And in this Bowman is uncompromising, refusing to settle into a cosy existence by way marriage, electing to teeter on the peripheries of the in-crowd. “He might have married one [a Jewish woman] and become part of that world, slowly being accepted into it like a convert,” Salter writes of Bowman’s decision, “He might have lived among them in that practical family density that had been formed by the ages, been a familiar presence at seder tables, birthday gathering, funerals, wearing a hat and throwing a handful of earth into the grave. He felt some regret at not having done it, of not having had the chance. On the other hand, he could not really imagine it. He would never have belonged.”

This sense of otherness is a motif throughout the book. Bowman’s search for a place in the world is defined by his romantic failures, which continuously distort and destabilise his sense of self until he finds love once again. All That Is is characterised by Salter’s trademarks, his geometric prose, his tacit force, decisive authority and erotic realism. Sex lends the book much of its thematic unity both individually and in relation to Salter’s other works. On occasion, the amorous liaisons lack the poetry of the more commonplace scenes but Salter redeems himself through those. Speaking in a recent interview, the writer said that he “will never again write a book in which there’s a single sexual act”. This might prove to be an interesting exercise if, indeed, Salter decides to write another book. Certainly, his “energy and desire” seem to be intact as is his lifelong passion for flying. Like his protagonist, Salter was a military man, a US air force pilot, who gave it up to pursue a career in the literary world. This inevitably invites one to draw comparisons between the two men, but while Bowman often appears finite and fallible Salter does not. He commands attention with the inimitable certainty of a master storyteller, a literary  frotteur, a man who likes to “rub words in his hand”  but one who never minces them.

The Paris Review | James Salter 

Guardian | James Salter

Publisher: Picador
Publication Date: May 2013
Hardback:  304 pages
ISBN: 978-1447238249

Writers On Writers

“Important novelists often say that writing a novel is hard. I think Anthony Powell said it was like conducting foreign policy—that you have to be prepared to go and do it every day no matter how you feel.”
James Salter

“Beryl Bainbridge understood the absurdity of life and how humour lurks in even the most tragic situation.”
Deborah Moggach

“Jack Kerouac influenced me quite a bit as a writer . . . in the Arab sense that the enemy of my enemy was my friend.”
Hunter S. Thompson

“There was a period in my early career that was determined by the images of women writers I was exposed to—women writers as genius suicides like Virginia Woolf.”
Margaret Atwood

“Blake’s poetry has the unpleasantness of great poetry.”
T. S Eliot

“In writing She Came to Stay, I was certainly influenced by Hemingway insofar as it was he who taught us a certain simplicity of dialogue and the importance of the little things in life.”
Simone de Beauvoir

“I find Faulkner intolerably bad.”
Evelyn Waugh

“Rebecca West’s novel The Fountain Overflows taught me a lot.”
Andrea Barrett

“Every year or so I read Shakespeare straight through.”
P.G. Wodehouse

“Updike is a master of effortless motion — between third and first person, from the metaphorical density of literary prose to the demotic, from specific detail to wide generalisation, from the actual to the numinous, from the scary to the comic.”
Ian McEwan

Sources: Bartleby, The Independent, The Paris Review, Wikiquote

Seminal Lines

“My darling, the wind falls in like stones from the whitehearted water and when we touch we enter touch entirely. No one’s alone. Men kill for this, or for as much.”

The Truth the Dead Know – Anne Sexton

Z: A Novel of Zelda Fitzgerald by Therese Anne Fowler

Writing in the Author’s Note and Acknowledgments at the end of Z: A Novel of Zelda Fitzgeral Therese Anne Fowler says she “tried to adhere as much as possible to the established particulars” of Zelda and Scott F. Fitzgerald’s lives. And in that she has succeeded. It is apparent from the first few pages of Z that the writer has done her research which, as she explains, offered varied – and greatly conflicting – versions of their story. “I often felt as if I’d been dropped into a raging argument between what I came to call Team Zelda and Team Scott,” Fowler says at the end of the book, “For every biographer or scholar who believes Zelda derailed Scott’s life, there is one who believes Scott ruined Zelda’s.” This, no doubt, made Fowler’s undertaking a very tricky one not least because of the Fitzgeralds’ own mythmaking. Their accounts – sourced from their epistolary exchanges – are riddled with liberal embellishments, exaggerations and occasionally downright machinations, rendering the truth indeterminable. As Fowler points out, it is difficult to establish whether it was Scott who brought about Zelda’s downfall or visa versa because opinion varies, paving way for pedagogic wrangling and biographical confusion. It is, however, clear that their mutual predisposition for excess played a large part in their undoing.  This is something Fowler aims to convey in the book, distributing the culpability equally between Zelda and Scott. Yet occasionally Zelda’s voice is also that of Fowler’s who, somewhat inevitably, has far more sympathy with her protagonist than she does with her literary husband.

Z is an interesting but deeply flawed book. Fowler writes wonderfully of the background sights and sounds that constituted the couple’s lives, their time in Alabama, their stint in New York, their travels around Europe and their sultry summers on the French Rivera. The writer’s imagination roams freely across the dance floor of Montgomery Country Club’s high-ceilinged ballroom where Zelda first meets Scott, the benevolent warmth of the Mediterranean landscape where Zelda begins to yearn for independence and the resonating buzz of the casinos and cafes around Antibes where the couple’s glamorous life begins to crumble. This is something that Fowler does very well, conjuring up consummately vibrant accounts of the atmosphere, places and people with impressive lucidity and verisimilitude. But Zelda’s voice – the linchpin of the book – is somewhat less convincing. We are introduced to Zelda as a precocious and effervescent 17 year old Southern Bell, running riot in her home town much to the dismay of her stolid and disapproving father. “Boys liked me,” she tells us, “because I shot spitballs and because I told sassy jokes and because I let ‘em kiss me if they smelled nice and I felt like it.” This seemingly carefree attitude, however, quickly dissolves when Zelda meets Scott and after a brief courtship begins to contemplate her future. “I knew that if I let Scott go, I’ll most certainly end up married to some nice, proper fella from a good family whose people have deep roots in the South,” she says, thinking on the matter, “I’ll be the same girl I’ve always been only the parties I go to will take place in drawing rooms instead of the Club or the Exchange Hotel…Looking down the road in the other direction, I see the life Scott offers me…It’s more unpredictable than Alabama’s weather in springtime…It will be an adventure…”

And the pair do indeed have an adventure, which Zelda then spends most of her time bemoaning. Fowler documents the couple’s domestic disputes, financial troubles and champagne-fuelled misadventures, speaking directly through Zelda, who never really manages to ingratiate herself with the reader. Her voice, inflected with a sensationally Southern drawl, fluctuates between frivolous and fatuous, conceited, rapacious and inane. Her contemplations are sometimes interspersed with witty and amusing observations, but even in her most private and reflective moments Zelda appears to be quite uninspired and uninspiring.  And this is Z’s biggest failing because the woman behind the reputation is never quite exhilarating, complex or compelling enough in comparison to the idea we already have of her. It is somewhat unfortunate that in writing about Zelda Fowler was always going to be competing with the man who knew her best. F. Scott Fitzgerald immortalised his wife perfectly – if not altogether accurately – in his books, writing about her in various fictional guises for several decades. From The Beautiful and the Damned (1920) –  the first of Fitzgerald’s works to include a portrait of Zelda as the volatile beauty Gloria Patch –  to Tender Is the Night (1934), his last book in which Zelda appears as the captivating but unhinged Nicole Diver, wife to the equally troubled Dick. The Divers were reportedly modelled on Fitzgeralds’ friends on the French Riviera, Gerald and Sara Murphy, yet the fictional couple’s marriage and all its elements – alcoholism, mental illness, a mounting emotional chasm and eventual separation – is more closely allied to that of Zelda and Scott. Again this is something Fowler explores in the book, paying particular attention to Zelda’s looming breakdown, which was reportedly spurred by Scott. “I was fighting for my right to exist independently in the world, to realise myself, to steer my own boat if I felt like it” Zelda says toward the end, “He wanted to control everything…He wanted his adoring flapper, his Jazz Age muse.”

Fowler does well to show us Zelda’s evolution as a personality – and a woman – who outgrows her lavish lifestyle and her insular existence. “I considered how I might become more like the women I respected and admired,” she muses as the novel progresses, “Surrounded as I was by such ambitious, accomplished women, I couldn’t ignore the little voice in my head that said maybe I was supposed to shed halfway and do something significant. Contribute something. Accomplish something. Choose. Be.” In highlighting Zelda’s personal development, Flower permits us to get a glimpse of her as someone who was deeply driven, intelligent and ambitions. Her introspection, her dreams, worries, aspirations and observations make for some interesting reading, especially in regard to other historical figures such as Ernest Hemingway, Ford Madox Ford, Gertrude Stein, Ezra Pound, Dorothy Parker, Jean Cocteau, Pablo Picasso and Edmund Wilson, whom Zelda asses with incisive consideration. But again, there is little real indication of just how unstable Zelda is (aside from the reference to“blackness” in her head) or how this may have affected Scott. Fowler does, however, tap into the popular idea that Scott hindered Zelda’s literary progress as well as her rights as a woman, subjugating her to the role of his sidekick and that of a mother. “There’s no need for you to be a professional dancer, writer, anything,” he says to his muse, “Be a mother. Be a wife. I’ve made a good life for you, Zelda; stop rejecting it.” Fowler also explores the idea that those in Scott’s camp (namely Hemingway) believed the opposite was true and that Zelda, driven by professional jealously, set out to bring down her husband. This, again, is the area where Fowler sides with her protagonist.

Reading Z one senses a distinct lack of sympathy with Scott, who for all his faults – passing off Zelda’s work as his own, pilfering dialogue straight out of her diaries, controlling and neglecting her – was someone that loved her very deeply and was fiercely protective of her. “I fell in love with her courage,” he once wrote in a letter, “her sincerity and her flaming self-respect and it’s these things I’d believe in even if the whole world indulged in wild suspicions that she wasn’t all that she should be, I love her and that’s the beginning and the end of it.” It is difficult to ascertain the true nature of their relationship or be objective in the process, as even their own records are filled with misinformation devised to contribute to their own romantic myth. The Fitzgeralds’ story, however, should be read as a cautionary one, a tale of two people who ruined themselves and each other through carelessness and excess. And in many ways, this is how Fowler sets out to project it through granting Zelda a voice of her own, allowing her to tell her story and debunk the unjust depictions of her circulating in the literary ether. But Fowler’s Zelda never quite manages to make herself heard in the way she deserves, often lacking conviction and authority. This is perhaps due to the fact that the writer aimed for objectivity but if so it begs the question why write the story from Zelda’s perspective at all? Zelda was a hurricane of a woman, disarmingly intelligent, outspoken, passionate, fearless, ambitious and unapologetic – everything that Z is not.

Publisher:  Hodder & Stoughton
Publication Date: April 2013
Hardback:  384 pages
ISBN: 9781444761405

Writers On Writers

“Colette is a writer one should know something about.”
James Salter

“I started reading DeLillo pretty much when he started publishing. He was, and is, one of my heroes.”
Ann Beattie

“Milton…was a true poet and of the Devil’s party without knowing it.”
William Blake

“Angela Carter has remarkable descriptive gifts, a powerful imagination, and… a capacity for looking at the mess of contemporary life without flinching.”
Anthony Burgess

“I still think Shelley is an underestimated poet.”
Michael Frayn

“I am a fanatical admirer of A. L Barker. If you cannot read her it is your fault.”
Rebecca West

“I do like to write dialogue, intense forms of which I admire in Henry Green’s novels.”
Shirley Hazzard

“Being in a garret doesn’t do you any good unless you’re some sort of a Keats.”
Dorothy Parker

“Saki says that youth is like hors d’oeuvres: you are so busy thinking of the next courses you don’t notice it. When you’ve had them, you wish you’d had more hors d’oeuvres.”
Philip Larkin

“William James says that in times of trauma and crisis a door is opened to a place where facts and apparitions mix.”
Susan Howe

Sources: The Paris Review, Wikipedia, GoodReads

The Book Of My Lives by Aleksandar Hemon

“Part of growing up is learning, unfortunately, to develop loyalties to abstractions: the state, the nation, the idea,” writes Aleksandar Hemon in The Book of My Lives, “You pledge allegiance; you love the leader. You have to be taught to recognise and care about differences, you have to be instructed who you really are; you have to learn how generations of dead people and their incomprehensible accomplishments made you the way you are; you have to define your loyalty to an abstraction-based herd that transcends your individuality.” This is the way in most cultures and countries, but especially those saddled with a draconian regime. Hemon, who grew up in Sarajevo, writes of the experience with ebullience that hasn’t dulled with either years or geographical distance. The Book of My Lives documents some of the social injustices and cruelties endured by the Bosnian people prior to and during the 1990s war. It regards the subject through a personal lens, delivering moving accounts of the villainies witnessed by Hemon, his family and friends. Hemon recalls vividly the exact moment he realised the pernicious nature of the Socialist rule, when after (a grossly misjudged) fascist-themed birthday party he and some of his friends were summoned to the State Security offices. “They interrogated me for thirteen hours straight,” Hemon recalls, “in the course of which I discovered that all the other people who attended the party had visited or were going to visit the warm State Security offices…Naïvely, I assumed that if I explain to them that it was really just a performance, a bad joke at worst…they would just slap our wrists…and let us go home.” They did, of course, let the adolescents go eventually but the story developed into nationwide news with the group being labelled the “Nazi Nineteen,” which Hemon says was a very surreal experience, likening it to “reading a novel in which one of the characters – a feckless nihilistic prick – had my name”.

For a while after and despite evidence to the contrary Hemon and his friends continued to rely on what they “stubbornly perceived as normalcy,” ignoring the fact that Croatia was in the throes of war and Bosnia was soon to follow. Working as a writer for a magazine at the time, Hemon recalls the months preceding the war through a fuliginous haze of hashish, sex, writing assignments and Dean Martin’s euphonious crooning. “We did it all,” he says nostalgically, “staying up all night to close and lay out an issue of the magazine, subsisting on coffee and cigarettes and trance; consuming pornography and writing poetry; participating in passionate soccer-related discussions and endless manic debates…Then there was rampant, ecstatic promiscuity…It was a great fucking time.” A time that was swiftly succeeded, he goes on to tell us, by the incontrovertible fact that “the war had arrived and now we were all waiting to see, who would live, who would kill, and who would die.” Hemon writes of his subsequent depression and hopelessness with intense acuity, imbuing this time spent largely in isolation with cultural and philosophical contemplations which enrich the narrative with a sense of universal resonance. It is here that Hemon’s memoir works best, when his voice is subjective, idiosyncratic and entirely his own. There are moments in the book, however, when Hemon writes as a seemingly impartial observer as he does, for example, in a chapter called Let There Be What Cannot Be. “In April, [Radovan] Karadžić’s snipers aimed at a peaceful anti-war demonstration in front of the parliament building,” he reports, “and two women were killed. On May 2, Sarajevo was cut off from the rest of the world and the longest siege in modern history began. By the end of the summer, nearly every front page in the universe had published a picture of a Serbian death camp.” This kind of divagation is no surprise when one learns that all the pieces in The Book of My Lives were written individually rather than as a collective whole. They have since been revised and reassembled, but the narrative disparity – infinitesimal as it its – contributes to the overall fragmentation of the book. This is compounded by the middle chapter called This Is Why I Do Not Want To Leave Chicago, which is essentially a list – a very interesting and articulate list but nevertheless a list – at odds with the rest of the book.

The all-important aspects of Hemon’s life, however, are certainly here . The birth of his sister which marked a “tormentful, lonely period” in the writer’s formative development; his early experiences of the divisive ethic system; his realisation about his parents’ fallibility; the “ceaseless debasement” of army life; the atrocities of war; the torturous complexity of immigration; incurable homesickness and the protracted and debilitating process of constructing a new life. The latter is something Hemon ruminates on with the weight of bitter experience, conveying the hardships of adapting to a new world through his own eyes as well as those of his mother and father. A year after Hemon left Sarajevo for the US (1992) his parents and his sister immigrated to Canada. The escape itself had been precarious enough, but no one could have prepared the Hemons for the difficulties that followed. “Things were very complicated for them,” writes Hemon of his parents in Canada, “what with the language my parents couldn’t speak, the generic shock of displacement and the cold climate that was extremely unfriendly to randomly warm human interactions.” In fact, as we go on to learn, the whole process was far more serious than that. “Within months my parents started cataloguing the differences between us and them,” Hemon explains, “we being Bosnians or ex Yugoslavs, they being purely Canadian.” At one point, the writer recalls how this caused a rift between him and his family, who was beset by “devastating nostalgia and hopelessness” at their new life. Hemon writes very candidly about the various adversities in adapting and trying to encourage his parents to do the same. “I was incapable of helping them in any way,” he writes, “During my visits, we argued too much: their despair annoyed me, because it exactly matched mine and prevented them from offering comfort to me…Everything we did in Canada reminded us of what we used to do together in Bosnia.”

The Book of My Lives is full of such plaintive moments. Hemon remembers the acclimatisation process with plangent astuteness, his words reverberating with a familiar if distant echo of longing. “Displacement results in a tenuous relationship with the past,” he explains, ”with the self that used to exist and operate in a different place, where the qualities that constituted us were in no need of negotiation. Immigration is an ontological crisis because you are forced to negotiate the conditions of your selfhood under perpetually changing existential circumstances…At the same time there is the inescapable reality of the self-transformed by immigration – whoever we used to be, we are now split between us-here (say, in Canada) and us-there (say, in Bosnia).”  To bridge this gap, between his old and new self, Hemon set out to explore his adopted hometown and this is precisely how he documents his time in Chicago; as a wanderer, a searching flaneur, who grows to love his new city through familiarity, slowly forging relationships with its places and people. “I realized that my immigrant interior had begun to merge with my American exterior,” Hemon recalls after a couple of years of living in the US, “Large parts of Chicago had entered me and settled there; I fully owned those parts now. I saw Chicago through the eyes of Sarajevo and the two cities now created a complicated internal landscape in which stories could be generated.” And there are certainly many – and wonderful – stories that have been generated and gathered here, which Hemon started writing in English as soon as his displacement anxiety began to dissipate. They are the Lives referred to in the book’s title, split between his early years in Bosnia and subsequent struggles and his time in the US, focusing on the city of Chicago; his local football team, the chess players with whom he shared his passion, his past lovers, his ex and present wife, his daughter Isabel’s battle with cancer and his older daughter Ella’s imaginary friend.

The Book of My Lives is Hemon’s first collection of non-fiction, consisting of 15 pieces of autobiography assembled loosely together into a variegated whole. It is a short but surprisingly compendious read, offering great insight into the writer’s past and present. Hemon is someone who manages to convey the emotional complexities of loss and extant pain with superb clarity and feeling.“How can you possibly ease yourself into the death of your own child,” he asks, “For one thing, it is supposed to happen well after your own dissolution into nothingness. Your children are supposed to outlive you by several decades, in the course of which they’ll live their lives, happily devoid of the burden of your presence, eventually completing the same mortal trajectory as their parents: oblivion, denial, fear, the end…And even if you could imagine your own child’s death, why would you?” But sadly the unimaginable became a reality for Hemon and his family, when their infant daughter died of a rare brain tumour . “Teri [Hemon’s wife] and I held our dead child – our beautiful, ever-smiling daughter, her body bloated with liquid and beaten by compression,” he writes, “- kissing her cheeks and toes. Through I recall the moment with absolute, crushing clarity, it is still unimaginable to me.” Hemon lays himself bare on the page, vacillating candidly, unashamedly, from hope to joy to grief to disbelief and anger.  “One of the most despicable religious fallacies is that suffering is ennobling,” he rages, “that it is a step on the path of some kind of enlightenment or salvation. Isabel’s suffering and death did nothing for her, or us, or the world. The only result of her suffering that matters is her death. We learned no lesson worth learning; we acquired no experience that could benefit anybody.”  Hemon’s memoir ends with this heart-wrenching story, which is both overwhelming and very moving. Speaking about writing, in more general terms, Hemon recently said that literature was “human experience in language” and that what mattered was not the “information about the past or the present” but the “intensity and depth of experience of reading and imagining other lives.” And this is the key to the Book of his, his many lives, all of which – the good, the bad, the joyous and the tragic – are very much worth reading and imagining.

Book Browse | Aleksandar Hemon

Publisher: Picador
Publication Date: March 2013
Hardback:  224 pages
ISBN: 9781447210900

Seminal Lines

“We were together. I forget the rest.”

We Two, How Long We Were Fool’d — Walt Whitman

LBMC: #1 The Swedenborg Society Bookshop

I have somehow  – in a bout of inadvertent spontaneity – set myself the challenge of visiting every independent bookshop on the London Bookshop Map. Upon making my London Bookshop Map Challenge (LBMC) known on Twitter I received several shop recommendations, urging me to go to Judd Books, The Broadway Bookshop,  Clerkenwell Tales and  the Kirkdale Bookshop, all of which I now also intent to visit. This brings the total to a hefty 109 different shops, in different parts of town! What was I thinking? Probably not very much at that precise moment, but I like a challenge and have sulfur in my blood! (The latter is something Henry Miller used to say. Not sure if it applies here but it kind of sounds good.)

The first bookshop I went to is the Swedenborg Society one, which I picked because of its proximity to my work. The shop is located on the corner of Barter Street, opposite Bloomsbury Square. It specialises in the work’s of  Swedish philosopher, theologian, scientist and mystic Emanuel Swedenborg. Most of the books in the shop are published by The Swedenborg Society, which has been going since 1810. This wonderful little establishment also sells other editions, most of which pertain to the philosopher, his ideas and his cultural and historic significance.

The books published by the Society are absolutely beautiful. The intention is to have them look like classics, Nora (Foster), the Society’s Publicist and Assistant Curator, told me. A lovely idea, I agreed, marvelling at the handsome hardbacks. I was greeted and shown around by the very lovey Company Secretary Richard Lines, who offered me a potted history of the famous philosopher and took me on a guided tour of the Grade II listed premises. The building houses a vast and impressive library, which contains  the most extensive collection of Swedenborg editions in Europe, some in their original languages of Swedish and Latin. I was also lucky enough to be shown a couple of leather bound manuscripts written in Swedenborg’s own hand, which looked fantastic if indecipherable.

Richard took me up and down several flights of stairs annotating our journey as we went, telling me about the Society’s heritage, its early patrons and contemporary friends (A. S. Byatt,  Iain Sinclair, Homero Aridjis among them). As we made our way through the building, Richard explained that the Society is currently in the process of cataloging Swedenborg’s Library and Archives online, to make them accessible to the general public. All the antiquated hardbacks and manuscripts are stored around this grand scholastic hub, which also has a 100 seat neo-classical hall, where the Society hosts literary evenings, talks, exhibitions, performances and lectures. Their programme is extensive and varied and has in the past included an Ingmar Bergman season, a poetry reading by Ali Smith, a special screening of Grant Gee’s documentary on the writer WG Max Sebald and a musical performance by Jozef Van Wissem.

The Swedenborg Society bookshop is one of Bloomsbury’s little treasures. It has a wonderful array of specialist books and great staff, who are infectiously enthused about them.

The Swedenborg Society
20-21 Bloomsbury Way
London
WC1A 2TH
Opening Hours: Monday – Friday/9.30 am – 5.00 pm

PS If you’d like to recommend a bookshop please leave a comment on my blog, tweet me (@DollyDelightly) or send me an email: dolly.delightly.books@gmail.com. Thanks.

Yet Another Top 10 List – Smutty Books

After yet another night on the town and a variety of noxious alcoholic medleys I woke up this morning feeling malcontent, maladroit and morbidly hungover. I was going to – very audaciously – vow to stay off the booze for the remainder of February but then realised it was Valentine’s Day and I would certainly need something 20 proof and above to get me through it. That and some books, perhaps, of the smutty variety for it is somehow both appropriate and inappropriate to be reading smut on this merchant-made capitalist abomination of days.

So in case you’re feeling a little bit like me here’s a list of some literary smut, arranged in alphabetic order by the first letter of the writer’s surname. The list is by no means comprehensive and reflects my own reading preferences and prejudices. So, friends, say NO to Hallmark and Cadbury and go buy one of the below! Or tell me what would be on your list.

Emmanuelle by Emmanuelle Arsan
“What’s beautiful is to refuse to let yourself stop, sit down, fall asleep, or look back.”

Story of the Eye by Georges Bataille
“We did not lack modesty—on the contrary—but something urgently drove us to defy modesty together as immodestly as possible.”

The Infernal Desire Machines of Doctor Hoffman by Angela Carter
“I desire therefore I exist.”

The Ripening Seed by Colette
“One would have to be a raving lunatic to try to find out what a woman wants, or to imagine that she knows herself!”

Querelle of Brest by Jean Genet
“When we see life, we call it beautiful. When we see death, we call it ugly. But it is more beautiful still to see oneself living at great speed, right up to the moment of death.”

Sexus by Henry Miller
“To love or be loved is no crime. The really criminal thing is to be make a person believe that he or she is the only one you could ever love.”

Lolita by Vladimir Nabokov
“You can always count on a murderer for a fancy prose style.”

Delta of Venus by Anaïs Nin
“Love never dies a natural death. It dies because we don’t know how to replenish its source. It dies of blindness and errors and betrayals. It dies of illness and wounds; it dies of weariness, of witherings, of tarnishings.”

Story of O by Pauline Réage
“Finally a woman confesses! Confess what? What women never allowed themselves to confess!”

Philosophy in the Boudoir or The Immoral Mentors by Marquis de Sade
“Nature, who for the perfect maintenance of the laws of her general equilibrium, has sometimes need of vices and sometimes of virtues, inspires now this impulse, now that one, in accordance with what she requires.”

Source: GoodReads, Wikipedia