"Abducted" by Susan A Clancy

Why do people believe they have been abducted by aliens?

The author is a sceptic in that she believes that “there is no objective evidence that an alien spacecraft has ever visited Earth or that anyone has ever been abducted.” (Ch 6). Aside from that, this account is remarkably balanced. She has clearly taken these stories seriously. She claims to have read every account of alien abduction published and more or less everything written about abduction narratives. She's watched almost all of the films and TV shows. And she's personally interviewed dozens of people who believe they have been abducted. I feel confident that this book is an unbiased, even sympathetic account of alien abduction experiences.

Firstly, they're not mad. Abductees are no more likely to have psychiatric disorders than you or me. They are, however, often creative, imaginative and prone to fantasy.

Secondly, most of those who believe they have been abducted do not have any memory of the abduction. Most of them have had strange experiences (such as sleep paralysis which is a state where sleep overlaps with wakefulness so that people continue to dream even while awake) which they are desperate to explain and which they have subsequently realised are similar to the experiences reported by someone else who claims to have been abducted. There is more than a hint of 'confirmation bias' about this. When asked why they can't remember, they often claim that the aliens had erased their memories.

Thirdly, those who claim to remember abduction experiences have in almost every case reconstructed their memories with the help of "imaginational therapies" such as hypnosis. Clancy is clear that such reconstructed memories are unreliable. She asserts that it is a myth that hypnosis is like a truth serum; in fact it puts patients into a suggestible state when they are liable to confuse imagination with reality. "The key to generating false memories ... is the protected imaging of an event in the presence of authority figures [such as a hypnotist or 'alien expert'] who encourage belief in and confirm the authenticity of the memories that emerge.” (Ch 3) She points out that the 'memories' recovered during hypnosis are usually incoherent and only later woven into a coherent narrative. In fact, many abductees question the reality of their early memories. “After my first regression, I wondered if I was making it all up ... I still don't remember it like a real memory, like I remember walking to class yesterday.” (Ch 3) She also points out that many of the 'memories' generate intense emotions such as terror and that the very intensity acts as a validation to their perceived truthfulness: “What happened to me was - overwhelming. It was more real than my sitting here talking with you right now.” (Ch 5)

When asked why she doubts abduction reports when they are so consistent, she replies that they aren't. The narrative arc is similar but the individual details vary quite a lot. She also points out that there were no reported cases of alien abduction until 1962, after the first films and TV shows had offered fictional narratives about abduction.

In the end, she concludes that “Aliens are ... the imaginative creations of people with ordinary emotional needs and desires. We don't want to be alone. We feel helpless and vulnerable much of the time. We want to believe there’s something bigger and better than us out there. And we want to believe that whatever it is cares about us, or at least is paying attention to us. That they want us (sexually or otherwise). That we're special.” (Ch 4) Abductees can regard their abduction experience as the most traumatic thing that ever happened to them, or the best thing. Having the abduction explanation not only explains the problems they face (such as depression or insomnia) but also absolves them of responsibility (it's not my fault ...). “Every single abductee at some point during an interview said, ‘Things make sense now.’” (Ch 5) She points out the similarity between Christianity and abduction: “Alien abductions feature all-knowing, nonhuman, advanced entities whose presence resists the explanatory power of science. The entities bring moral guidance. They tell us that time is running out, that we must change our selfish ways or our planet will be destroyed. They have come to Earth for our sake, and they are working for humanity’s redemption.” (Ch 5)

Selected quotes:

• “Nursery schools were being shut down and teachers imprisoned because, after lengthy and suggestive questioning, children were describing bizarre episodes of abuse, some involving flying clowns and broomsticks and the killing of large animals.” (Ch 1)
• “Being abducted is creepy; it's painful; it involves terrifying sexual and medical experimentation; and claiming to have been abducted is a sure way to be labeled daft. Why on earth would people subject themselves to this without strong reasons?” (Ch 1)
• “Abduction beliefs poignantly reveal that the desire to find meaning and purpose in life is more fundamental than many of us realise.” (Ch 1)
• “If anecdotal evidence or the words of attractive authorities could be relied on, we’d have to accept that Yeti and the Loch Ness Monster exist, that Elvis Presley, James Dean and Jimi Hendrix are alive, that psychoanalysis causes schizophrenia, and that there were weapons of mass destruction in Iraq at the time of the 2003 invasion.” (Ch 2)
• “Our lives, after all, are only what we remember of them. It's unnerving to realize that our stories, feelings, memories of the past are reconstructed over time, and that we make up history as we go along.” (Ch 3)
• “The idea that a patient is an unbiased report of his or her experiences and the therapist is an unbiased listener, and that together they are engaged on an archaeological expedition of the past, runs counter to everything memory researchers know about the malleable, unstable nature of memory and especially about the way our memories are altered by our expectations and feelings.” (Ch 5)
• “Science demands reason, argument, rigorous standards of evidence and of honesty ... you must prove your case in the face of determined, expert criticism; diversity and debate are valued. The most we can hope for are successive improvements in our understanding, the chance to learn from our mistakes. Absolute certainty will always elude us. Nothing is ever known for sure, and there are no sacred truths.” (Ch 6)

Authoritative, exhaustive and hugely readable. Possibly the last word in the debate.

June 2024; 155 pages

This review was written by the author of Bally and Bro, Motherdarling  and The Kids of God

"The First Crusade" by Peter Frankopan

When, in November 1095, Pope Urban II preached at Clermont, France, in about the need for a crusade to recover Jerusalem from the Muslims, it was partly to boost his own standing (he was one of two alternative popes, the other having control of Rome) and partly in response to a call for help from Byzantine emperor  Alexios I Komnenos. This book rewrites the myths to show how important Alexios was to the ultimately successful campaign to retake Jerusalem. Even though he was never physically present, preferring to lead from Constantinople, and was therefore accused of cowardice (unfairly, as a soldier before he became emperor and subsequently as emperor he often led his armies in the field) and sidelined by a history mostly written by the westerners, nevertheless his contribution to the logistics, ensuring that the armies were almost always well-provisioned, was crucial. 

This book is therefore an important contribution to the history of those times, as well as being immensely readable. Of all the characters, my favourite is the immensely brave and hugely talented soldier Bohemond who decided to keep Antioch for himself thus provoking a crisis in the leadership of the allies. When Bohemond returned home to the west he needed to pass through waters controlled by Byzantium. “Bohemond was so convinced that the emperor would take revenge for his treachery during the Crusade that he travelled home in secret. He even spread reports that he had died and had a coffin designed which purported to be carrying his corpse. As his ship passed through imperial waters, he lay in his sarcophagus alongside a dead chicken whose rotting carcase lent the coffin a powerful and unmistakable smell of death.” (Ch 10)

Readable and interesting. June 2024; 206 pages

Peter Frankopan also write The New Silk Roads

This review was written by the author of Bally and Bro, Motherdarling  and The Kids of God

"My Man Jeeves" by P G Wodehouse

 

A collection of some of the first short stories in which Bertie Wooster and his valet Jeeves make their appearance. The collection also includes some stories featuring Reggie Prepper.

I would argue that Jeeves and Wooster represent the pinnacle of Wodehouse's oeuvre and it is interesting to trace the evolution of these characters. First there was Psmith, who first appeared in the novel Mike as schoolboy cricketer Mike's new friend. Psmith, like Wooster, has an air of indolence and a wonderful way with words but unlike Wooster he is really rather wise and it is he who enables the farcical plot to reach a successful conclusion. It is as if he is Wooster and Jeeves in a single person. Reggie Prepper is more like Wooster in that he is likely to get himself into scrapes and need rescuing; he is also the first person narrator of the stories. The transcendent moment came when Wodehouse took Psmith, removed his competence and placed them all in Jeeves, and, as with Prepper and also rather like Watson and Holmes, used Wooster as the foolish first person narrator.

The Wooster stories are set in America where Wodehouse lived during the First World War and where the third Psmith novel (Psmith, Journalist) is set. 

The joy is in the farcical situations in which the upper class twits are enmeshed and in the wonderful verbal dexterity with which the stories are told, as evidenced in some of the quotes below. His principal talent is for exaggerated similes and metaphors.

Selected quotes:

• "One of the rummy things about Jeeves is that, unless you watch like a hawk, you very seldom see him come into a room. He's like one of those weird chappies in India who dissolve themselves into thin air and nip through space in a sort of disembodied way and assemble the parts again just where they want them." (Leave it to Jeeves)
• "I hadn't the heart to touch my breakfast. I told Jeeves to drink it himself." (Leave it to Jeeves)
• "I'm not absolutely certain of my facts, but I rather fancy it's Shakespeare - or, if not, it's some equally brainy lad - who says that it's always just when a chappie is feeling particularly top-hole, and more than usually braced with things in general that Fate sneaks up behind him with a bit of lead piping." (Jeeves and the Unbidden Guest)
• "What's the use of a great city having temptations if fellows don't yield to them? Makes it so bally discouraging for a great city." (Jeeves and the Unbidden Guest)
• "The days down on Long Island have forty-eight hours in them; you can't get to sleep at night because of the bellowing of the crickets; and you have to walk two miles for a drink." (Jeeves and the Unbidden Guest)
• "Women with hair and chins like Mary's may be angels most of the time, but, when they take off their wings for a bit, they aren't half-hearted about it." (Absent treatment)
• "'Women are frightfully rummy,' he said gloomily. 'You should of thought of that before you married one,' I said." (Absent treatment)
• "In his official capacity, Voules talks exactly like you'd expect a statue to talk." (Rallying Round Old George)
• "I did a murder last night ... It's the sort of thing that might happen to anyone." (Rallying Round Old George)
• "'How long were you engaged?' 'About two minutes.'" (Rallying Round Old George)
• "It's just on the cards that I may have drowned my sorrows a bit."  (Rallying Round Old George)

June 2024; 135 pages

Other Wodehouse works reviewed in this blog may be found here.

This review was written by the author of Bally and Bro, Motherdarling  and The Kids of God

"The Rock Pool" by Cyril Connolly

This is the sad story of a lonely man, a man with no discernible charisma, trying to be liked. 

A English expat and wannabe writer (of course!) with a small private income (such a trope!) staying on the French Riviera visits Trou-sur-Mer, a hilltop town that used to be an artists' colony and is now the watering hole for wannabe artists and writers and assorted bohemians. He decides that they and their milieu will make an interesting study for a book, positioning himself as the archetypal outsider (letters from England show that he was an outsider there; he reflects "They all seemed to be playing a game of grandmother's steps, in which, whenever he looked round at them, they were somehow blandly and innocently nearer the social success which was their universal goal."; Ch 10). 

But it's lonely being an outsider. What he really wants is to make friends. But he repeatedly fails to fit in: "He felt old and miserable, going through life trying to peddle a personality of which people would not even accept a free sample." (Ch 5). Some accept him because they want to sponge from him (almost no one has any money) and he spends much more than he can afford trying to buy their friendship. He occasionally gets to sleep with one of the women. A gay man makes overtures towards him: "He felt like the second most unpopular boy at a school receiving overtures from the first." (Ch 3)

It was one of those books which had so many characters that not only was it difficult for the reader to keep track of them but also the writer was unable to make any of them distinctive. The only character that felt fully fleshed was the narrator, Naylor. 

The plot, such as it was, followed the deterioration of Naylor as he tried and failed to make friends, as he spent his money and became poor (and therefore unwanted by the others) and as he devolved from being an observer to becoming one of the creatures in the rock pool.

I think it was the looseness of the plot (and the abruptness of the ending) that was one of the aspects of this book that most annoyed my fellow readers in my U3A Eastbourne Central reading group. But lots of books focus on a group of characters rather than driving a narrative. This book reminded me of novels such as Under the Volcano by Malcolm Lowry, or Less than Zero by Brett Easton Ellis or Generation X by Douglas Coupland or Cocaine Nights by J G Ballard or Climbers by M John Harrison. Perhaps I just have a taste for nihilistic downward spirals!

I think the purpose of the book was to be a study of pond life. The inhabitants of Trou lived off each other, predators and prey, and established their position in the food chain. There seemed no higher purpose to their existence other than to survive and to satisfy their needs. Some affected strange costumes or adopted strange behaviours while others flitted in and out of the shadows.

There was a pervasive sense of sadness. I empathised strongly with this lonely, unpopular man.

In the end, the author asks himself: "Would whatever he wrote remain subject to the laws which governed the young Englishman's first novel and made it a slop-pail for sex, quotations and insincerity?" (Ch 10) Given that this was Connolly's first (and only) novel, these seem appropriate questions to ask:

• Though it is never explicit, there is a lot of sex as the bohemians bed-hop across the town. There is frank discussion of both gay and lesbian relationships (which made it impossible to publish in England; this was 1936 and Radclyffe Hall's ground-breaking lesbian novel The Well of Loneliness was declared obscene by an English court in 1928. 
• There are not that many quotations but there is a lot of foreign words and phrases in French and German and Latin. Regular readers of this blog will know that this is one of my pet hates. Is the author just showing off? Probably. Am I expected to be multilingual or does he want me to miss potentially key moments? What's wrong with footnote translations?
• But I get the feeling that is is sincere. Connolly was clearly a snob both in terms of class ("Naylor suddenly realised that she was middle-class and, worse, was assuming that he was."; Ch 1) and in terms of intellectuality (all those foreign phrases, the works of literature cited, words like logophagous etc) but I get the feeling that the description of Naylor as a lonely misfit came from the author's heart.

Notes:

• In French 'trou' means a hole or an orifice. In slang it can be used, among other things, as short for 'trou de cul' (arsehole) or to mean a prison cell. Thus 'Trou-sur-Mer' might mean hole-on-sea, arsehole-on-sea, or prison-cell-on-sea. All these are relevant.
• Taormina is a resort in Sicily which at the time in which the novel is set was known as a haven for gay men.
• At one stage he remembers considering writing book which is a mixture of Petronius (presumably the Satyricon) and Lazarillo de Tormes, the classic Spanish picaresque novel.
• Votre truc means 'your thingy', votre machin means 'your thingymajig'

Selected quotes:

• "She had something expectant and glistening about her, like a penguin waiting for a fish." (Ch 1)
• "Being told that they were both English, Naylor and Varna began those elaborate manoeuvres of introduction which are performed so punctiliously in that formal country by its inhabitants and its dogs. Their problem was how to find, while asking the fewest and least indiscreet questions, their common boasting ground." (Ch 1)
• "To wake up in love, to wake up with a procession of buried feelings, bars of music, forgotten poetry returning like the cavaliers of sixteen-sixty; to surprise the priests of the oldest, falsest religion celebrating their mysteries in the reconsecrated heart!" (Ch 2) Of course a sentence full of pretentious melodrama such as this has to end with an exclamation mark!
• "Such a horror of the human race that he once had to go to bed for three weeks after standing in a queue." (Ch 2)
• "In the streets he seemed to wade through quarrelsome women in cheap pyjamas." (Ch 3)
• "It was a world of externals, where jewellery and large cars formed the true background." (Ch 3)
• "It was the hour when the soft night of southern cities holds the clearest promise of release and adventure, when a light going off is a portent and the lowering of a blind seems like a sign from heaven." (Ch 3)
• "She looked at him complicitly as the matron of a girls' school might at an obstetrician who'd had to be summoned." (Ch 3)
• "She held herself so erect that all other women seemed to stoop when one looked at them." (Ch 3)
• "For some time he lay like a crushed snail on a garden path." (Ch 4)
• "She made him feel as if he wasn't in the room." (Ch 4)
• "Jimmy did not pay much attention to the spurts and silences of Naylor's explanation." (Ch 4)
• "There are times when the fear of life is greater than the fear of death, when the remaining years ... stretch out ahead like the steps of an infinitely tiring staircase." (Ch 5)
• "He didn't like to talk while he was dancing; for him it was like driving through traffic." (Ch 5)
• "My! You can see what Trou has done to you, I've never seen anyone so altered. The ravages! It reminds me of the Picture of Dorian Gray, only it's the other way round; my portrait can't keep pace with all the changes." (Ch 6)
• "It was natural to want to go to bed with people." (Ch 6)
• "Like the circles made by a stone in a pond, his memories of her, yesterday so close and finite, widened into larger, hazier ripples that troubled every part of his consciousness." (Ch 7)
• "Is it cynical to learn from much unpleasant experience that experience is usually unpleasant?" (Ch 7)
• "The Jealous God, the Envious Being who would pinch any happiness that came one's way, if one showed it, or destroy and excellence." (Ch 7)
• "He managed a laugh, if that was the right name for his lubricious whinny." (Ch 9)
• "Regeneration does not come quickly, and the drafts of night are seldom honoured by the grim cashier of day." (Ch 10) 

It's not very structured and sometimes overwritten; most of the characters come across as self-indulgent hedonists. But, as the selected quotes above show, there were moments of wonderful writing.

June 2024; 138 pages

This review was written by the author of Bally and Bro, Motherdarling  and The Kids of God

"Babel" by R F Kuang

 If you are seeking a novel that tells you how to think, this may be for you. But I prefer a book that challenges me to think for myself.

In some ways this is 'Harry Potter goes to University'. It even starts with Robin, the boy who lived, being rescued by a magician after his mother dies. Once he arrives at Oxford, the arcane rituals, such as wearing gowns, are told with Rowlingesque relish. And there is magic in amongst the scholarship. The biggest difference seems to be that spells are worked not only in Latin but by evoking the mismatch in the translation of a word between one language and another. Perhaps the only part of this novel that I enjoyed were the moments when the author explains the etymology of words. These nuggets were absolutely fascinating but they did nothing to enhance the plot, the characters or the setting.

The plot involves a struggle between the University, who make magical bars of silver which power industry at home and warships abroad, fostering the domestic inequalities of capitalism and the horrors of colonialism, and a secret society of rebels. It is fundamentally a thriller plot with the usual tropes; I don't think there were any twists that I failed to see coming. The blurb quotes the Guardian: "an ending to blow down walls." But by the time I neared the ending I was bored with the book and I didn't care for any of the cardboard characters, so I skim-read just to get to the end.

Intensely didactic, this book is set in the first half of the nineteenth century so that it condemn the horrors of colonialism with no need for nuance. Issues are presented as black and white; the goodies are always right and the baddies are always wicked. At the same time, it is an alternative history so that its protagonists can have thoroughly modern attitudes and viewpoints, such as "The British are turning my homeland into a narco-military state" (Ch 17). Such anachronisms are made possible by the genre but drain verisimilitude from it.

To hammer its point home it uses footnotes to give the appearance that this is a work of history. Somehow these are even less nuanced than the main text. Some of these footnotes are factual, others are clearly set in the world of the novel. There are also many authorial insertions. RFK may believe that Percy was less talented than Mary Shelley or that William IV was "an eternal compromiser who pleased no one" but it would be more honest to place these opinions in the mouth of a character so they can be seen as opinions.

There is not a single white male character who is good, apart from the obviously named Abel Goodfellow. Skin colour seems to be shorthand for character. "I have never met an Englishman I trusted to do the right thing out of sympathy," says one character in chapter 23 and the only example suggested that breaks this rule is almost immediately shown to be a Judas. Such stereotyping is shallow. I prefer my fiction to have more depth. 

There are plenty of villains. Almost none of the baddies had any saving grace whatsoever. This rendered them caricatures. It's very easy to set up such straw men and knock them down. But I prefer antagonists who feel human, who seem real, who have wants and needs and failings and strengths. They're more authentic, they feel more dangerous, and they can pose emotional and intellectual challenges to the protagonists (and to the readers). 

Sadly, apart from Robin and Griffin, none of the goodies had any complexity to their characters and of these two only Robin had what might be called a character arc, although it was difficult to see how the Robin at the end could have evolved from the Robin of the early pages. These characters weren't flesh and blood, they were puppets clothed to represent aspects of an argument.

Somehow, in a book about young students at university, there was almost no sex. There were some romantic moments and there was a moment when the lead protagonist felt a physical desire for his best buddy but when the lads were offered a prostitute they reacted like maiden ladies from an old novel. Maybe this caters to a new puritan readership but it certainly didn't help the verisimilitude.

I suppose you might regard the novel as a satire, such as Gulliver's Travels by Jonathan Swift (from whom Robin takes his surname) but I prefer my novels to have more interesting plots, characters with more than two dimensions, and a deeper appreciations of the problems facing human beings living in an imperfect world.

Selected quotes:

• "He's got the personality of a wet towel: damp and he clings." (Ch 7)
• "The translator dances in shackles." (Ch 8)
• "The thick dawn mists had just given way to blue sky when the horizon revealed a thin strip of green and grey. Slowly this acquired detail, like a dream materializing; the blurred colours became a coast, became a silhouette if buildings behind a mass of ships docking at the tiny point where the Middle Kingdom encountered the world." (Ch 16)
• "The public merely wanted all the conveniences of modern life without the guilt of knowing how these conveniences were produced." (Ch 27)

June 2024; 544 pages

Winner of the 2023 fiction book of the year in the British Book Awards

This review was written by the author of Bally and Bro, Motherdarling  and The Kids of God

"AD After Disclosure" by Richard M Dolan and Bryce Zabel

 This book is a mixture of fiction and speculation; it suggests possible future scenarios for a world after the 'Disclosure' that UFOs exist, that they carry aliens to this world, and that there has been a decades-long inter-governmental programme of secrecy to hide these facts from the general public.

Whether UFOs do actually exist and whether there has been a cover-up are questions that the book doesn't really address. If either of these assumptions are false, their arguments collapse. So let's look at the evidence that they do present.

• They cite "thousands of professional witnesses, such as law enforcement, military pilots, and even astronauts.” (Ch 1) It always seems important for these sorts of books to establish the credibility of what is almost always anecdotal evidence by describing the witnesses as 'professional' or by giving job titles that suggest their reliability. In later chapters they cite senior politicians. Other examples include: "higher level military and Intelligence personnel" (Ch 1); one of the Roswell witnesses (as a child of twelve) is described as “a woman with impeccable credibility and decency” although the ‘decency’ is irrelevant and there is no evidence proffered to support the ‘impeccable credibility’ (Ch 2); “Serious researchers of UFOs agree that these craft appear to negate the Earth's gravity.” (Ch 5) in which presumably those who do not agree with the point they are making are relegated to the category of 'unserious researchers'. 
• “Most people now reject the theory that all sightings can be explained away” (Ch 1) But truth isn't a democratic choice by which what 'most people' believe is true. Once, most people believed the world was flat. But it isn't. (At the same time they often argue that minorities can be right; that even if 99% of UFO phenomena can be explained, the ones that can't should be sufficient to lead to a paradigm shift in our thinking.)
• Another classic rhetorical device that they use is to give alternatives that are to be rejected before concluding in favour of your own thesis. Having swept away manifest untruths, they conclude that their solution  must be true. But there are always alternatives that they don't put forward.
• When they state their thesis, they often downgrade it so that is becomes acceptable, as in the phrase "Some UFOs appear to be ...” (Ch 1)
• They often ask questions, such as "can we really believe that a secret such as the presence of an alien intelligence on Earth can continue to remain hidden and undisclosed?” (Ch 1) Note that this question also includes the unchallenged assumption that there is “the presence of an alien intelligence on Earth”. 
• When they discuss what they assert is a culture of secrecy in the US, the implied syllogism is this:
• There are some things that are classified secrets.
• The evidence for UFOs might be a classified secret.
• Therefore UFOs have been discovered but are being kept secret.
• Clearly this argument is flawed. Nevertheless, they build on it to the extent of asserting that there exists “A significant ‘built-off-the-grid’ infrastructure, partially underground, that affords them a high degree of secrecy and independence of action.” (Ch 2) with no evidence for this claim whatsoever. 
• When they discuss the infamous Roswell incident, they assert "authentic wreckage was swapped out for a weather balloon” (Ch 3); I would rewrite this as ‘allegedly authentic’ and ‘allegedly swapped’ unless evidence was to be presented. 

A readable book but it contains a number of examples of rhetoric replacing reason.

Selected quotes:

• “It is always the nail that sticks out that gets hammered.” (Ch 2)
• “Humans are a very adaptable species. When our living conditions change, whether it involves going to prison or winning the lottery, we alter our attitudes and expectations.” (Ch 5)
• “Humanity needs a post-oil economy; humanity fears a post-oil economy.” (Ch 5)
• “Scientific conclusions are always provisional. They are subject to change when new evidence is presented. This may be an emotional drawback for those who demand certainty in their lives, but ... it is an advantage over the long term.” (Ch 7)

June 2024; 315 pages

This review was written by the author of Bally and Bro, Motherdarling  and The Kids of God

"The English Teacher" by R K Narayan

Krishna teaches English at the College he was taught at. He has w ife and a daughter and a life of domestic harmony. Until it all goes wrong. Once again, Narayan explores the life of a very ordinary person and finds the transcendent in the everyday.

The first half of the book is firmly rooted in mundane reality, although sometimes Krishna finds lyrical beauty in his surroundings. But in the second half (and the turning point, almost exactly half way through, is a key moment) the sacred and the spiritual are foregrounded. But this is India and you can never be quite certain that a holy man isn't a con artist. 

It has a well-paced plot, structured after the four Ashramas (life stages) of Hindu tradition. The first stage is the 'chaste student'; although Krishna is already married and a father  teaching when we first encounter him, he is still living as a bachelor in the college accommodation where he was a student. The second stage, that of householder, describes his married life, and the everyday adventure of domesticity. This ends exactly half way through the book; the second half chronicles the third stage and ends on the brink of Krishna embarking on the fourth. The plot contained several developments which I hadn't expected at all but nevertheless could be seen to develop naturally, a classic Aristotelian reversal. I found the ending deeply satisfying.

It is narrated in the first person and the past tense by the protagonist, Krishna. He's a very ordinary man, fumbling and bickering his way through life, who only really discovers how deeply he loves when it's too late. He feels terribly real. His character is developed by his history and his circumstances. The other characters are drawn from the ranks of the ordinary and perfectly observed; even the visionary Headteacher, saintly in some respects, is fleshed out through the way he treats and is treated by his wife and children. This a drama of people you might meet down the street.

The language is careful, measured and grammatical; I felt that every word was carefully chosen. Despite it being a first person narrative, there was a lot more show than tell. There are moments of glorious description:

• "I was going to write of the cold water's touch on the skin, the cold air blowing on chest and face, the rumble of the river, cries of birds, magic of the morning light, all of which created an alchemy of inexplicable joy." (Ch 1) 
• "As the dusk gathered around us, utter silence reigned. I too sat, not knowing what we waited for, The casuarina murmured and hushed, the ripples splashed on the shore. A bright star appeared in the sky." (Ch 5)
• "As I sat in the sands of Sarayu, a late moon rose in the east, and the flowing water shimmered with it." (Ch 7)

If you, as reader, finds that the story is so ordinary that it seems a little dull, if you feel that it drags a little at the start, keep going. Your perseverance will be rewarded. It's never a page-turner but the events of the middle and the second half are well worth the wait. 

It also acts as a commentary on colonialism. Krishna is employed to teach the delights of the literature of a colonising people; the headmaster, Brown, has never bothered to learn any Indian language despite living in the sub-continent for thirty years. Krishna's wife, Susila, has spent years trying to read Ivanhoe and Lamb's Tales from Shakespeare but can't get past page fifty. Explicitly: "I could no longer stuff Shakespeare and Elizabethan metre and Romantic poetry for the hundredth time into young minds and feed them on the dead mutton of literary analysis and theories and histories ... This education had reduced us to a nation of morons; we were strangers to our own culture and camp followers of another culture, feeding on leavings and garbage." (Ch 8)

Selected quotes:

• "House-keeping was a grand affair for her. The essence of her existence consisted of the thrills and pangs and the satisfaction that she derived in running a well-ordered household." (Ch 2)
• "I have the feeling of a crow flying in a storm." (Ch 5)
• "It was a street within a street, and a lane tucked away into a lane. There was every sign that the municipality had forgotten the existence of this part of town. Yet it seemed to maintain a certain degree of sanitation, mainly with the help of the sun, wind and rain. The sun burned so severely most months that bacteria and infection turned to ashes. The place had a general clean up when the high winds rose before the monsoon set in, and whirled into a column the paper scraps, garbage, egg-shells, and leaves. ... And it was all followed by a good wash-down when the rains descended in November and December and flushed the streets." (Ch 6) Man proposes but God disposes. The municipality, if it is good for anything, should look after sanitation in the city but in the neglected areas such as the liminal district where the Headmaster lives, nature takes over the job and performs it efficiently enough. This is a key step on Krishnan's road to enlightenment. 
• "The street was littered with all kinds of things - wood shavings, egg shells, tin pieces and drying leaves. Dust was ankle deep." (Ch 6)
• "The memory of my own young days. Most of us forget that grand period. But with me it has always been there. A time at which the colour of things are different, their depths greater, their magnitude greater, a most balanced and joyous time of life... And then our own schooling which put blinkers on us; which persistently ruined this vision of things and made us into adults." (Ch 6)
• "It was as if a person lost in an abyss found a ladder, and the ladder crumbled." (Ch 7)
• "The kitchen is the deadliest arsenal a woman possesses." (Ch 7)
• "Success must be measured by its profitlessness, said a French philosopher." (Ch 8)

A slow burner but, once it gets going, it grips. June 2024; 184 pages

By the author of The Guide and The Painter of Signs and a host of other novels set in the fictional Indian city of Malgudi.

This review was written by the author of Bally and Bro, Motherdarling  and The Kids of God

"From cleaner to crusader" by Matthew Birch

An easy-to-read minimalist action thriller.

Carl cleans up the evidence from government sanctioned assassinations. But the next corpse he discovers is his mother's. He tries to find out why she was killed and uncovers the murky secrets of the government agency for which he works. This leads to a climactic confrontation.

This book is written in the present tense, which gives it a sense of immediacy, and in the first person so that the reader sees everything from the perspective of the narrator. There's a lot of exposition and this extends to the narrator describing his dilemmas and moral choices in very clear terms. This has the effect of making him seen coldly dispassionate. This fits with the cold, almost totally loveless life he describes in chapter one and I suppose that a scene of crime cleaner has to bottle his emotions but Carl really doesn't appear to feel anything. He says that he feels upset by his mother's death but he seems totally in control. Perhaps he's a psychopath who doesn't feel emotions but knows how to fake them so as to appear normal.

The book is written in a staccato, stripped-down style. There's a lot of conflict but very little description. I'm not sure what any of the characters look like. This minimalism and focus on a narrated plot makes the story quick and very easy to read.

Characterisations tend to rely on archetypes. Although the protagonist arcs from being a pliant tool of the state to a rebel, this seems to be accomplished with very little difficulty or pain. Few of the other characters experience much development.

In chapter two, which, in a neat touch, starts with a near repetition of the starting of chapter one, there are several details that confused me. I had assumed that the second phone call came on the evening of the first day but we are told it was "last night"; it seemed odd that Carl didn't recognise the details of the address he was sent to; in chapter one he appears to be working solo while in chapter two he is part of a team. I thought at first that these were hints of an unreliable narrator - a postmodern touch - but there were no other suggestions of this except close to the end when the chronological sequence doesn't quite fit. There is also an interesting melding of USA details (senator, congressional inquiry, the word 'normalcy') and UK details ('a pint in the pub', the word 'mate' rather than 'pal'). 

Given his job, for which he would surely have had training, Carl seems unbelievably naive about what the 'agency' might be up to ... but given what is at stake he seems to be able to discover the truth with remarkable ease. Perhaps more description, even if it slowed up the story, would have led to greater verisimilitude.

Selected quotes:

• "Her voice, a lullaby in the harsh symphony of my existence, brings me a comfort that’s hard to come by in my line of work." (Ch 1)
• "The realisation that I truly am on my own in this fight settles in, a chilling companion in the darkness." (Ch 5)

June 2024

This review was written by the author of Bally and Bro, Motherdarling  and The Kids of God

"This Good Book" by Iain Hood

Matthias Grünewald, Public domain, via Wikimedia Commons

A beautifully written book about art and religion; it was also very funny.

 Susan Alison wants to paint the most perfect Crucifixion and when she encounters fellow art student Douglas she realises she has to have her as her Christ. He models for her over the next fourteen years, as the pair of them try different poses, different perspectives and different techniques. Meanwhile his career as a conceptual artist - he exhibits bags of his urine - progresses by leaps and bounds. 

I thought this was an incredible book. In one sense it is about the platonic but deeply loving  relationship between these two young people, but which reminded me of that in One Day by David Nicholls. But it is also about different understandings of God and Jesus, asking questions like: exactly how much did Jesus love his mother? and how does God experience the passage of time? There were moments when I wondered whether Douglas, a child prodigy in a number of fields, was supposed to represent Jesus. Susan Alison has quasi-epileptic 'absences' in which she says things that later seem to foretell the future so she must be some sort of prophet? But mostly it is about art and the varieties of art and the price that has to be paid for art.

I'm not sure I have ever experienced a book that was so immersed in visual art. Right from the first page when the narrator, Susan Alison, catches a glimpse of the belly of Douglas and reflects: "His flesh was yellow ochre and burnt siena and raw umber and there was a halo of pale blue-white fluorescent light around his head and shoulders. The light around him in the darkness of the hallway formed a circle, and the door frame formed a square. He moved his legs into an isoceles of reflected light from the fake while and blue diamond tile linoleum floor. Eight heads high. The perfection of the proportion of him. The luminousness of him." (Ch 1) Susan Alison and Douglas have repeated discussions about art. We are in the mind of Susan Alison every step of the twisted way as she explores the terrain in which she will create her masterpiece. This is art, art, art; the only comparable books in which art is so foregrounded that I can think of are My Name is Asher Lev (which is also about a painting of the Crucifixion) and its sequel The Gift of Asher Lev by Chain Potok. My novel Bally and Bro is also about an artist. 

TGB alludes repeatedly to paintings of the crucifixion, for example: "Matthias Grunewald's lip-smacking relish at twisted the emaciated body of Christ as he tortures the paint and makes Christ bleed near-solid gobbets of blood. Or Nikolai Ge's hideously terrifying and terrified Christ screaming at the top of his lungs to the sky and a God who cannot be there as his bedraggled rags soak with blood-red paint." (Ch 1) Fabulous descriptions which made me long to see these paintings: I have subsequently found many of them on the internet.

The first-person narrative voice, very Scottish and full of colloquialisms, is very strong in this novel and both the principal characters are fully realised in all their complexities; the narrator's stereotyping of Douglas is repeatedly confounded. The plot is perfectly paced (there's a huge climax almost exactly at the 75% turning point), and nicely twisted towards the end, and it was not till about 60% that I had my first hint of how the book might end. There's a surprising amount of humour, mostly around the idea of Douglas as a "don't say 'piss artist' because everybody says that." (Ch 2) There's also a lot of profound thinking about both art and religion. And the descriptive prose (such as in the paragraph above) is sometimes breath-taking.

Selected quotes:

• "Like all good Christians, she wanted good paintings of suffering and torture and death and rape and incest and child sacrifice and bestiality. Good Bible stories. Good paintings." (Ch 1)
• "Jesus needed to be beautiful, because if he's not beautiful then what is he? Jesus as God had to be the most beautiful man and the perfection of man, because if he's not that then what is he?" (Ch 2)
• "What else? Oh yes, he could drive and had a car. I know! Who would have thought?" (Ch 3)
• "Can you make your jokes funny so that I can identify them." (Ch 3)
• "Genuine is better than authentic." (Ch 6)
• "He was peeing into bags to pay for those meals. Scotland's shame!" (Ch 7)
• "The biggest arse that ever came off the arsehole production line." (Ch 8)
• "Like throughout history, all that the art owned by the Church proved is that it was the Church that had stolen the money from the peasants to pay for the bloody art." (Ch 9)
• "A turbulent mess of fleshy waves that was yellow ochre and burnt siena and raw umber and blackened blue and sickly , yellowing white and blood vermillion." (Ch 10)
• "The first failure of art is to not name a piece Untitled, because to need to title it means that the image or sculpture or installation or whatever it is cannot explain itself.  ... it's like a kid making a line drawing and then writing underneath it 'A DOG'." (Ch 14) I always think this is true when a poet at a poetry reading tells you what their poem is about before they read it: if you need to do that, it isn't good enough. I also felt this very strongly when looking at the Turner Prize entrants at the Towner Gallery in 2023 - 2024; in some cases (mostly downstairs) I would never have guessed what the artist intended without the text telling me. And that to me means that the artwork has failed. 
• "The two great traditions in crucifixion paintings: humiliation and exaltation." (Ch 14)

This superb book worked for me on every possible level. A strong narrative voice, a great plot, a deep relationship between two utterly believable characters and a great deal of food for thought. Six stars out of five! June 2024; 200 pages

Other books about art reviewed in this blog can be found on this page.

This review was written by the author of Bally and Bro, Motherdarling  and The Kids of God