1979

Novella a Day in May: Days 28 and 29

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Day 28: Sleepless Nights (1979) by Elizabeth Hardwick

Elizabeth Hardwick is one of those authors who has been published both as Virago Modern Classic and a NYRB Classic, and there can few greater accolades (other than being a British Library Women Writers author, am I right??) I bought Sleepless Nights back in 2009, and have a couple other books by Hardwick on my shelf, but have yet to read any.

In this novella, a woman looks back on her life – a jumble of recollections and reflections.

It is June. This is what I have decided to do with my life just now. I will do this work of transformed and even distorted memory and lead this life, the one I am leading now. Every morning the blue clock and the crocheted bedspread with its pink and blue and gray squares and diamonds. How nice it is – this production of a broken old woman in a squalid nursing home. The niceness and the squalor and sorrow in an apathetic battle – that is what I see. More beautiful is the table with the telephone, the books and magazines, the Times at the door, the birdsong of rough, grinding trucks in the street.

That is the opening paragraph, and gives an indication of Hardwick’s striking, rather brilliant prose. And I don’t have a lot to say about Sleepless Nights, because my experience of it was finding her writing absolutely sumptuous and wonderful, and seldom having any idea what was going on. Names would recur, but I was unable to attach much by way of character to them. There is a lovely few pages on Billie Holiday, who is the only name I can remember, a day after reading the novella.

But, nevertheless, I enjoyed reading it. Because each sentence is a little masterpiece. It was like relishing a series of beautiful brushstrokes, but seeing them as abstract mini-artworks, rather than cohering into a single portrait. I daresay that is partly that ‘transformed and even distorted memory’, but mainly because of me. I find I am less and less able to put together a novel told in this abstract way, where beauty is prioritised over clarity. But, as I say, that didn’t stop me enjoying and admiring it. Just probably not quite the way that was intended.

To finish on Hardwick, here’s another quote I noted down:

“Shame is inventive,” Nietzsche said. And that is scarcely the half of it. From shame I have paid attention to clothes, shoes, rings, watches, accents, teeth, points of deportment, turns of speech. The men on the train are wearing clothes which, made for no season, are therefore always unseasonable and contradictory. They are harsh and flimsy, loud and yet lightweight, fashioned with the inappropriateness that is the ruling idea of the year-round. pastels blue as the sea and green as the land; jackets lined with paisley and plaid; seams outlined with wide stitches of another color; revers and pockets outsize; predominance of chilly blue and two-tones; nylon and Dacron in the as-smooth-as-glass finish of the permanently pressed.

Day 29: The Peculiar Life of a Lonely Postman (2005) by Denis Thériault

What a perfect little novella The Peculiar Life of a Lonely Postman is. Translated from French by Liedewy Hawke, Thériault’s book is a perfect use of the form – using the slim space to somehow make something with a beauty that depends on delicacy and brevity.

Bilodo is a postman in his late-20s, and perfectly happy. ‘He wouldn’t have wanted to swap places with anyone in the world. Except perhaps with another postman.’ He doesn’t have a girlfriend and doesn’t have many close friends. When he is not delivering letters up and down the many, many steps of the tall buildings on rue des Hêtres, he mostly spends his time in his small apartment, playing videogames and ignoring the attempts of a colleague to find him a girl.

But he does have one illicit pastime:

Among the thousands of soulless pieces of paper he delivered on his rounds, he occasionally came across a personal letter – a less and less common items in this era of email, and all the more fascinating for being so rare. When that happened, Bilodo felt as excited as a prospector spotting a gold nugget in his pan. He did not deliver that letter. Not right away. He took it home and steamed it open. That’s what kept him so busy at night in the privacy of his apartment.

And, one day, one of the envelopes he steams open only includes this:

Under clear water
the newborn baby
swims like a playful otter

He discovers that a woman in Guadalupe, Ségolène, is exchanging haikus with a man on Bilodo’s postal route, Grandpré. Of course, Bilodo can only read Ségolène’s side of the exchange – but he grows obsessed with her, with the haiku form, with this curious relationship that expresses itself solely, and slowly, through the exchange of written verse.

I don’t want to spoil more of the novella, which only comes in at 108 pages, but Bilodo gets much more involved in the correspondence. And the end of The Peculiar Life of a Lonely Postman is unexpected, brilliant, and curiously beautiful. I gasped, and yet it is the sort of denouement that confirms the beauty of what has gone before.

This is the second novella I’ve read this May about someone discovering a stranger’s personality through their verse, and I think does it more subtly. I’m so impressed by Hawke’s ability to translate the Haikus in a way that, I assume, keeps both their original meaning and the feel. Because the feel is the most important part. And the feel of the whole novella is lovely – precise, delicate, poignant.

25 Books in 25 Days: #15 Offshore

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I’m going to be doing a full review of Offshore (1979) by Penelope Fitzgerald later, for a feature at Shiny New Books, but it’s nice and short so seemed a no-brainer for 25 Books in 25 Days. I’ve read quite a few Fitzgerald novels over time, but this is the one that snared her the Booker – what would I make of it?

It’s set in London, among a community of people who live on houseboats. It has Fitzgerald’s archetypal disjointed conversations and disjointed relationships – nobody ever quite answering the question that is asked them, or doing anything in quite the way you might expect them to. This is shown at its best in a wonderfully brittle, peculiar conversation between two strangers. Here’s a little bit of it…

“Well you might turn out to be a nuisance to Edward.”

She mustn’t irritate him.

“In what way?”

“Well, I didn’t care for the way you were standing there ringing the bell. Anyway, he’s out.”

“How can you tell? You’re only just coming in yourself. Do you live here?”

“Well, in a way.”

He examined her more closely. “Your hair is quite pretty.”

It had begun to rain slightly. There seemed no reason why they should not stand here for ever.

“As a matter of fact,” he said, “I do remember you. My name is Hodge. Gordon Hodge.”

Nenna shook her head. “I can’t help that.”

“I have met you several times with Edward.”

“And was I a nuisance then?”

The writing is bizarre and wonderful much of the time, but I did find that I was a little too disorientated by what was going on at any time. Finding the right amount of disorientation in Fitzgerald is a fine balance – and perhaps one influenced by the mood one is in when reading. So, it’s not my favourite, and it felt a little overly-confused, but it’s still Fitzgerald and thus it’s still characterful and very good nonetheless.

The Book of Laughter and Forgetting by Milan Kundera

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I love Milan Kundera, and I haven’t read one of his books for a while – so it was nice to revisit his writing on my recent holiday. I’ve still not read his most famous novel (The Unbearable Lightness of Being), but have read Immortality, Identity, The Joke, and The Festival of Insignificance – which is both the order I read them in and how much I liked them. The Book of Laughter and Forgetting (1979) is one of the best Kundera novels I’ve read – in a translation by Aaron Asher. And translations really matter with Kundera – he is notoriously choosy, but approved of this one. Which, interestingly enough, was translated from the French translations of the original Czech. An earlier English translation – in 1980, directly from the Czech – obviously didn’t quite cut it.

That sort of patchwork is quite appropriate for a book like The Book of Laughter and Forgetting, which I hesitate to call a novel or a collection of short stories – it is something in between. It is, indeed, a book of laughter and forgetting – themes which haunt the book like characters, offering the only unity available. And why (Kundera seems to ask) should not themes be a book’s unifying thread, rather than characters, time, and place?

Structurally, the book is divided into seven sections. To emphasis the iteration of thoughts and cross-connections, two are called ‘Lost Letters’ and two are called ‘The Angels’. It’s probably best (if you want a full summary) to head over to the Wikipedia page, rather than me paraphrasing what they say. But each section looks at a slice of life in various Czech people’s lives – from a man travelling and being followed by suspicious government agents, while thinking of his past love, to a fanciful scene in which schoolgirls fly away with angels. Most are connected with sex or politics, or both – which are often the two keynotes of Kundera’s created worlds.

But sections are not simple, discrete tales. Within each, Kundera shifts from image to image, thought to thought – in the first, for instance, he includes a description of a 1948 photograph of Vladimir Clementis and Klement Gottwald, from which Clementis was erased when he was no longer acceptable to the politicians’ propaganda. This is one of the senses of forgetting in the book. He also includes himself – or, at least, an author called Milan Kundera – and each section incorporates tangents, anecdotes, fables, parables. There is a section held together by the concept of litost – a Czech word without direct translation, which Kundera describes as ‘a state of torment created by the sudden sight of one’s own misery’. The book is all a patchwork that requires astonishing deftness, and Kundera is astonishingly deft.

He is very good on the significance of gesture, or of stereotyped movements and how they can be interpreted – it is, after all, the wave of an arm that kicks off the stream of connected images at the beginning of Immortality. Here he is on one of the varieties of laughter in the book:

You certainly remember this scene from dozens of bad films: a boy and a girl are running hand in hand in a beautiful spring (or summer) landscape. Running, running, running, and laughing. By laughing the two runners are proclaiming to the whole world, to audiences in all the movie theatres: “We’re happy, we’re glad to be in the world, we’re in agreement with being!” It’s a silly scene, a cliche, but it expresses a basic human attitude: serious laughter, laughter ‘beyond joking’.

All churches, all underwear manufacturers, all generals, all political parties, are in agreement about that kind of laughter, and all of them rush to put the image of the two laughing runners on their billboards advertising their religion, their products, their ideology, their nation, their sex, their dishwashing powder.

Kundera has a level of control, and imagination, that makes these patchworks succeed. Indeed, his novels that try to follow a traditional narrative structure are the least successful, to my mind. The Book of Laughter and Forgetting is such a triumph because he seems to throw out all the rules, and start from scratch with what a book can be. The characters and their paths, as they appear, are still vivid and vital – and there is a pain and hope throughout that can only come one whose homeland has been political hell. And there is, indeed, much humour – sometimes cynical, sometimes ridiculous, sometimes almost naively joyful.

It’s a brilliant mixture that I (at least) have to be in the right mood for, or it doesn’t click. Luckily I was in exactly the right mood when I picked up The Book of Laughter and Forgetting – and I very much recommend you give him a try.

More Muriel

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My stream of reading Muriel Spark doesn’t look likely to come to an end any time soon – so was just so wonderfully prolific – and the latest one I’ve read is Territorial Rights (1979), given to me by Virago in their nice new edition, and reviewed over on Shiny New Books.  The copy I read, I will confess to you, was the copy given to me by Hayley after Muriel Spark Reading Week (and I gave the Virago copy to a deserving friend).

It’s not in the top two or three Spark novels – or maybe even top ten – but it’s still brilliant, with lots of recognisably Sparkian elements. Head on over to my Shiny New Books review to find out more…

On The Other Side by Mathilde Wolff-Mönckeberg

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Yesterday I wrote about Monica Dickens’ The Winds of Heaven, and told you that it was towards the fluffier end of the Persephone Books canon – and promised to take you to the other side of their spectrum today.  Well, here it is – one of Persephone’s non-fiction titles, On The Other Side: Letters to My Children From Germany 1940-1946 by Mathilde Wolff-Mönckeberg, translated by her daughter Ruth Evans, and first published in 1979. 

On The Other Side is effectively Mathilde’s diary, framed through letters to her children in Britain (although she never sent them), and documents what life was like in Germany during the Second World War.  Despite having read a lot about the British Home Front, the German equivalent is a perspective I have never read firsthand.  It helps that Mathilde is a delightful person, easy to empathise with – what other response would we have to someone who would say this?

Life would have no purpose at all if there weren’t books and human beings on loves, whose fate one worries about day and night.
This is going to be one of those ‘reviews’ which are, in fact, mostly quotations from the book – because the excerpts I’ve selected give such a comprehensive overview of the diary that it would be a waste of time for me to try and paraphrase them. 

Rather naively, I hadn’t really realised that people like Mathilde existed in wartime Germany.  I thought the German public would have been divided into those who supported Nazism, those who were apathetic, and those who lied to so much by Nazi propaganda that, though not sympathetic to those views, had no way of knowing what was going on.  But Mathilde shows that there were many exceptions:

Practically everyone knows that all that bluff and rubbish printed in
the newspapers and blazoned out on the wireless is hollow nonsense, and
when big speeches are made nobody listens any more.
Indeed, the account she gives of the appalling public life of Jewish Germans could scarcely be bettered by a textbook in its fullness, nor its empathy

Perhaps you cannot imagine what life is like for Jews.  Their ration cards are printed on the outside with a large red J, so that everybody knows at one that they are non-Aryan.  All women have to add the name Sarah to their first names, the men Israel.  They never get special rations, such as coffee, tea or chocolate, nor do they received clothing coupons.  After 7.30 at night they are not allowed out into the street; their radios and telephones have been removed.  Practically every shop and restaurant has a notice saying ‘Jews are not wanted here.’  It is so vile and mean that I can only blush with embarrassment while I write this.  But you and your children must know of this, that things like this are possible in Germany under our present regime.  You will hardly credit all this, or the fact that we others have stood by and said nothing.  And there are much, much worse things.  Many people have committed suicide because they could not bear this indignity.  Then, like vultures and hyenas, they [the Nazis] rush in and grab the belongings of the dead; honest names are smeared with filth, and decent Germans have been driven to emigrate by the thousand.
When reading about the war from the perspective of a British person (or, I daresay, the French, Belgian etc. – I haven’t read their accounts) there is much pain and anguish, but little internal conflict.  Love of country and hatred of the enemy can be expressed in a single breath, without contradiction.  While individuals may question the point of war as a concept, or the political manoeuvres of those in power, this couldn’t compare to the conflict Mathilde experienced with love of country and hatred of Hitler.

But however much we strain with every nerve of our beings towards the downfall of our government, we still mourn most deeply the fate of our poor Germany.  It is as if the final bomb hit our very soul, killing the last vestige of joy and, hope.  Our beautiful and proud Germany has been crushed, ground into the earth and smashed into ruins, while millions sacrificed their lives and all our lovely towns and art treasures were destroyed.  And all this because of one man who had a lunatic vision of being ‘chosen by God’.  May he and his followers be caught in just retribution.
However engaging and thought-provoking On The Other Side was for Mathilde’s accounts of the war, the actual events were very similar to those in Britain – shortages, bombings, fear for loved ones.  It is certainly all moving, but it has become familiar ground in fiction and non-fiction.  The part I found most fascinating concerned Mathilde’s experiences after the war was over; it was, again, something I had never read about from a German’s perspective.

6 May 1945: It is Sunday and I almost hesitate to put pen to paper.  Too much has happened in the few days since last I wrote.  The whole world has changed and part of the crushing nightmare that oppressed us for so long has been lifted during these five days.  I have listened quite openly to an American and to a British radio station, no longer threatened with the death sentence for this.  I can go along the road and proclaim loudly, “Adolf Hitler, the most evil criminal in the world,” and nobody will tell me to shut up.  Can you imagine that?  And can you picture our Andreasstrasse full of English trucks and private cars; on the pavements and in the front gardens a milling crowd of English soldiers – and it is a Welsh regiment, Ruth dear.  They serenely patrol the district: one is sitting in the middle of the road playing with a dog, another one is playing a recorder on a balcony; a couple tumble in and out of the house, for downstairs a captain has moved into the bottom flat.  What a lot of coming and going!
Although Mathilde and her husband welcomed the end of the war, and were very grateful for being in the British-controlled part of Germany (apparently other areas, particularly that under the rule of Russia, suffered greatly), the British army were, probably understandably, reluctant at first to sympathise with the German public. This was perhaps the most moving passage in the book:

He [her husband] was so passionately devoted to Great Britain and all it stood for.  Now he is disillusioned by the limitless arrogance and the dishonesty with which they treat us, proclaiming to the whole world that only Germany could have sunk so low in such abysmal cruelty and bestiality, that they themselves are pure and beyond reproach.  And who destroyed our beautiful cities, regardless of human life, of women, children or old people?  Who poured down poisonous phosphorous during the terror raids on unfortunate fugitives, driving them like living torches into the rivers?  Who dive-bombed harmless peasants, women and children, in low-level attacks, and machine-gunned the defenceless population?  Who was it, I ask you?  We are all the same, all equally guilty, and if my entire being was not straining towards a re-union with you, life would be nothing but torture and abhorrence.
As I promised at the start, I have mostly quoted from the book, rather than giving my own views.  It’s one of those books which I believe is too important to have me weigh in on it.  I couldn’t say that I loved Mathilde’s voice as much as I love Nella Last’s, but they are books which ought to be read alongside each other.  On The Other Side couldn’t be much further from The Winds of Heaven, but both exemplify what makes Persephone Books wonderful – books which enrich the reading life, whether through delightful fiction or thought-provoking non-fiction.