I’ve read a few books this month without the time to reflect on them here, so some disconnected thoughts on what I’ve read lately.
During a Twitter conversation in which I confessed to abandoning Gunn’s latest novel The Big Music, Michelle persuaded me to read Kirsty Gunn’s Rain. There is a calm beauty in Rain that almost seemed excessive to the demands of the story. I read it twice, taking pleasure in the subtle details: the tension between childhood and adulthood, the elegiac characterisation. Early in her narrative Gunn writes, “… but already the air was touched by the promise of our destination.” The brief novel is filled with these lyric images that disrupt the apparent simplicity of the narrative. Though I was moved by the beauty of the writing, I was detached from the story itself, and somewhat indifferent at the end of a second reading.
An urge drew me to read Henrietta Moraes’ autobiography Henrietta. Moraes was the epitomic upper class Bohemian of London’s 1950s and 1960s, seduced by Lucian Freud, painted by Bacon at least two dozen times. When Moraes died in 1999, her son, barely mentioned in the autobiography, considered scattering her ashes around the pubs where she spent a large part of her dissipated life. Terribly written but moving nevertheless, Henrietta is part of a longer term project to read around Soho and London of the years before the-excuse the cliché-swinging sixties.
As soon as Teju Cole’s Every Day is for the Thief arrived, I set aside other reading to spend time with the book that came before Cole’s staggeringly good Open City. James Wood’s review of Open City called it a “novel as close to a diary as a novel can get, with room for reflection, autobiography, stasis, and repetition.” Every Day is for the Thief is in similar vein, and reads as the warm-up work to Open City, lacking some of its punch, but beautifully evocative of the rhythms of daily life in Lagos. The lightness of tone masks the intensity and seriousness of the narrator’s frustration with his return to Lagos after a long absence from the city.
I hadn’t realised Teju Cole had a second out. I should prioritise his first.
What made you abandon The Big Music? I have it and it’s one I’m very much looking forward to, though I’ve no idea when I’ll get to it.
Teju Cole’s book is very worthwhile, still thinking about it many days later. Slight only in page count.
Something of the language worked against my reading of The Big Music; it felt too worked, too precious. I don’t like to see the brush strokes. There is a small element of that in Rain, but it came together better in a shorter piece. I couldn’t face so many pages of it in the bigger book.