#i had a load of great ideas in mind for my usual nonsense wittering in the tags but i've totally forgotten all of my great ideas

[bakechochin]

The Book Ramblings of February and March 2019

In place of book reviews, I will be writing these ‘book ramblings’. A lot of the texts I’ve been reading (or plan to read) in recent times are well-known classics, meaning I can’t really write book reviews as I’m used to. I’m reading books that either have already been read by everyone else (and so any attempt to give novel or insightful criticisms would be a tad pointless), or are so convoluted and odd that they defy being analysed as I would do a simpler text. These ramblings are pretty unorganised and hardly anything revolutionary, but I felt the need to write something review-related. I’ll upload a rambling compiling all my read books on a monthly basis.

Alice’s Adventures in Wonderland and Through the Looking Glass, and What Alice Found There - Lewis Carroll I am a jammy fucker, and so when faced with all of the editions of Alice in Wonderland that I could have bought, I had to go with the deluxe edition of The Annotated Alice, because it’s big and fancy and I could get my fill of cheeky secondary reading from it. However, upon purchasing it I realised that there is definitely a line that needs to be established when it comes to analysing books like this, and you’ll have to forgive me for repeating some of my thoughts on Peter Pan in this ramble, because my thoughts are much the same for both texts. Unlike Chesterton, who fought against the scholarly intellectualisation of Carroll’s works, as well as giving us the great quote on the subject, ‘Alice is now not only a schoolgirl but a schoolmistress’, I think that there can be benefits for reading Alice with a scholarly eye, especially when focusing on Carroll’s own life and outside influences of his that may have explicitly affected the writing of the stories. (Brief side note, I’ll stick to referring to the author as Carroll as opposed to Dodgson in this ramble, for simplicity’s sake). Whilst I do think that there are a lot of annotations in this book, which I will consider representative of fields of study done on the subject of Alice, only vaguely relevant and interesting in a detached way from the overall narrative, just additional embellishments to the reading rather than explicitly making the stories better to read, I’ve still got time for them because such extra tidbits of information are interesting in their own right. Of course, sometimes the information tidbits aren’t as interesting as what Carroll did with them - why would I care to read the sensible proper versions of verse extracts that Carroll changed into nonsense verse when it’s the nonsense that’s far more entertaining? - but, again, it has its use. What I do have qualms with are the annotations attempting to over-intellectualise the nonsense aspects of the story with real-life physics or mathematics application, retroactively attributing theories and shit to Carroll’s formulation of his nonsense and judging the nonsense by the sum of its (supposed) parts, and of course it’s awful when the annotations spend paragraphs upon paragraphs comparing the twenty billion different drawings of Alice within the framework of Carroll’s hatred of crinoline fashion. That shit can bugger right off. But let’s actually talk about the stories. These stories are, if not the first, than certainly the definitive examples of literary nonsense, and what proved most interesting to me was how said nonsense specifically manifested itself for comedic effect. Alice’s straightforward thinking and no-nonsense attitude (no pun intended) to all the kooky shit around her is always fun, and this book deserves kudos for its bold strides in the direction of really dark comedy in a children’s book. Similarly to a lot of people, I was familiar with the Alice nonsense before reading it, thanks to the 1951 Disney film and the sheer ubiquitousness of the stories’ content in pop culture, but it didn’t make it any less fun to read. I know that this is far from a novel takeaway, but there’s some things in a written text that a film just can’t capture; the writing has a fantastic way of being able to gloss over Alice’s low moments to firmly cement her as a fearless protagonist who accepts all the challenges thrown her way head-on, whereas the film needs to cover every low point in the story with heartstring-pulling poignancy. This is helped greatly by the fact that we know that everything will turn out alright in the end, either because the tone conveys it or because Alice explicitly tells us; there’s strife and peril along the way, but there’s no real risk of the whimsy giving way to any real danger, and so the story can just revel in its nonsense. Reading how Carroll describes all his fun Wonderland nonsense is, of course, incredibly enriching and fun; going into the story, I was expecting a lot from such well-known characters as the Caterpillar or the Cheshire Cat, and was subsequently surprised to see how little they actually figured into the overall story, but this gave way to the inclusion of scenes and nonsense I hadn’t seen before, like the tart debacle in the Queen’s Court. I was advised by a friend to leave it a while between reading Wonderland and the sequel, Through the Looking Glass, because the novelty of the nonsense would lessen were I to read them one after the other, and whilst I agree with his advice I feel that there is so much overlap of content between the two stories (especially considering how the film adaptations pick and choose story elements from both stories) that the new story wasn’t the completely novel experience I was hoping for. Whilst Wonderland didn’t have much of a story structure, with events unfolding and characters appearing as the story went along, there is more of a structure to Through the Looking Glass, however loose it may seem. This structure is that of a chess game, a fact I am left in little doubt about on account of the annotations giving me a constant fucking running commentary of the game’s progress, a progression which only ties into the story in terms of the characters’ idiosyncrasies in a humorous way once or twice in the whole fucking story. I know very little about chess, so any complex nonsense surrounding that fell way the fuck by the wayside when I was reading this, and therefore I was grateful that the usual Wonderland nonsense persists; my favourite encounters are the ones that reflect Carroll’s academic interests and experimentations, including a really interesting discourse on semantics and nominalism held by by none other than Humpty fucking Dumpty. WOULD I RECOMMEND?: YES

The Third Policeman - Flann O’Brien Nonsense writing is a fun concept to me, but my introduction to the genre, and indeed my full understanding before reading this book, was limited to texts by Carroll, which, don’t get me wrong, are of course great nonsense texts, but are familiar to us on account of how ingrained they are in pop culture, and thus you go into them knowing what to expect. I had no fucking idea what to expect from this book, and what I got was great. The story follows a chap with no name getting embroiled with a station of bizarre policemen, a vague setup into which is slotted in subplots about a league of one-legged men, inter-dimensional maps hidden on the ceilings of innocuous bedrooms, colours that make one go mad, and a conspiracy involving men taking on the attributes of bicycles and vice versa. This is supplemented with our narrator linking the banal sights and sounds around him to the speculations on said subjects by the insane savant writer de Selby, leading to pages upon pages of footnotes talking about de Selby’s ideas on bottled darkness or the world being shaped like a sausage, and all the contrasting and fucking ridiculous critical responses and hypotheses about said de Selby nonsense. I don’t need to tell you that this is all fucking amazing stuff. Not only is it always fun, it is described frankly and without laughing at itself, and while there is a lot to keep one occupied, it never gets overwhelming (or at least, the density of nonsense content in the prose never weighs on one’s brain in an information overload). The story is short, but dense with nonsense as mentioned above, and the fact that the few events that do progress the plot occur without warning nor aplomb is perhaps forgivable, because honestly the plot isn’t really the point as much as it is a vague backdrop for the nonsense at hand. All the way through it we have our nameless narrator, who challenges the farce around him but not incessantly or obnoxiously, and has a great patience for the shit he has to endure, greeting every new slab of ridiculousness with a polite nod and a smile; it’s very easy to align with the narrator without feeling like your interests clash with his. What I will say about this book is that, whilst it is purportedly many different things, from a murder mystery to a love story to an allegorical tale of guilt and despair, the sheer quantity of its bullshit means that it cannot be any of said things effectively. As a murder mystery, the plot hook that sets the pieces in motion for the circumstances of the murder is swiftly forgotten as the story barrels onwards. The love story element, whilst being ridiculous because it’s between our narrator and a stolen bicycle, is just one minor element of our narrator’s journey and is only dwelled upon for as long as it takes for the story to travel onwards to the next wacky plot thread. And as an allegorical tale of guilt, any attempt at inspiring guilt or sadness or whatnot is immediately offset by the knowledge that you’re reading a book with sentient bicycles and robes made of woven wind and policemen who refer to a difficult-to-solve problem as ‘an insoluble pancake’. This point does, however, bring us to the ending, which I will not explicitly spoil, but I will say that a) it does come as a surprise, but b) it pretty much juxtaposes the spirit of the entire work, and as such I thought it was a bit of a cop-out (no policeman-related pun intended). A thought-provoking cop-out that came as a bit of a shock, but a cop-out nonetheless. WOULD I RECOMMEND: HELL YES

Complete Stories - Clarice Lispector I like to review books based on whether I have personally got something out of them, and I am subsequently at something at a loss with this collection; as much as there is to recommend in the short stories of Lispector, they’re really not what I, or indeed those who know me, would consider to be ‘my thing’, and so my recommendations for the book may come across as a wee bit disingenuous. But let’s talk about these stories anyway. Lispector’s thing is incredible prose, almost prose poetry in some stories; it is florid and it is evocative and it is captivating, describing the emotions and thought processes of the narrator characters with such zeal and passion and complexity and verbosity. On this basis alone, I can recommend her stories, and presumably also her novels, to which I understand follow the stories in similar ways. However, I myself am loathe to pick up a novel from Lispector, because I find her short stories draining enough; I don’t mean this in a negative way, please simmer down and let me finish. These are incredibly dense short stories, with pages upon pages breaking down and analysing thoughts and feelings, snapshots of life extrapolated on and made to seem like powerful life-changing moments, the grand momentous prose depicting something as banal as a misinterpreted situation or a moment of embarrassment as cataclysmic disasters or mind-boggling enigmas to be contemplated by the finest philosophers. Only once could I sit back and laugh at this (the story ‘The Chicken and the Egg’, if you’re interested); for the rest of the time, I was fully and unequivocally invested in the strife and troubles described in these stories. But that’s not to say that they don’t take a toll. It took me quite some time to read this anthology because, were I to sit down and read these stories one after the other, I feared that the emphasis, the fucking punch that these stories had would become saturated, and it would just be a weary slog through turgid prose. I asked my friend (i.e. the bloke who gave me this anthology) why he considered the novels of Lispector to be some of the best he’s read, and he said that he loved how Lispector could pack seemingly everything into the world, every issue and matter and question and philosophy, into such small events; I won’t argue that Lispector excels at this, but I will protest having to read an entire novel’s worth of it, because I don’t have the patience nor the willpower. Anything else that I can think to say about the stories pales in comparison to Lispector's major strengths, but I’ll say what I’ve got anyway lest anyone were to accuse me of half-arsing these rambles. Some of the stories are unflinching examinations of the darker side of human nature, whilst others sacrifice this rumination for succinct twist endings and a black comedy tone; whilst I am fond of these stories, it can be a tad misleading or even anticlimactic when some stories set themselves up as examinations of curious human nature only to change course at the last second for the sake of the comedy twist (see ‘A Chicken’ for a good example of this). Though I scoffed at the suggestion of such in the introduction, believing it to be too much like base-level GCSE-tier literary analysis, the focus (and to an extent style) of Lispector’s works do noticeably change as she gets older; her earlier works are often first-person stories about love and confusion and vanity, but by her collection Covert Joy her stories are often framed around nostalgic or formative experiences. I prefer Lispector’s earlier stories; they’re more representative of the amazing storytelling I’ve been gushing about for this entire ramble, whereas her later stories are told like wistful recollections, good in their own right but not what I think of when I think of Lispector. I’ll recommend my favourite stories (in the order that they were printed in my collection), with the caveat that not all of these stories are good because of the reasons outlined above: 'Obsession', ‘Daydream and Drunkenness of a Young Lady’, ‘A Chicken’, ‘Happy Birthday’, ‘The Smallest Woman in the World’, ‘The Dinner’, ‘The Solution’, ‘The Fifth Story’, ‘Covert Joy’, ‘Remnants of Carnival’, and ‘Where Were You At Night’. WOULD I RECOMMEND?: YES

The Warden - Anthony Trollope I was a tad ill at ease as I started this book and started discovering some startling truths, most notably that I had been deceived once more into reading something out of my comfort zone. All I knew about Trollope going into this was his misplaced pride in his disgusting beard, but the introduction to the story cheerfully informed me that Henry James had referred to his ‘complete appreciation of the usual’, whereas Carlyle had more scathingly called him ‘irredeemably embedded in commonplace, and grown fat on it’. I was here for larger-than-life characters embroiled in a grand scandal in a sleepy cathedral town, perhaps some boisterous near-deaf old men or some juicy satire about lascivious priests, but I’d only gone and signed up for a quiet and relatively uneventful novel of everyday folk embroiled in quiet affairs! What a fool I am! However, whilst I worry that by saying this I am resigning myself to walk down the long path of boring realism-centric literary classics that I have long reviled, I’ve got to admit that this book is really rather good. Trying to describe the plot may very well deter any prospective readers in much the same way as it initially repelled me, but the general gist of it is a scandal coming to light (or, more accurately, being somewhat fabricated and blown out of proportion) involving the distribution of charitable funds in an almshouse in the quaint cathedral town of Barchester, and the story follows the main people who become embroiled in the affairs, either because they started it or because they’re under threat by it. You’d be forgiven to gloss over this as a load of old banal quotidian twaddle, but where this book shines is in its storytelling. The narrative voice is warm and affectionate, the characterisation is fucking stellar, and the story getting into the minds of its characters with every encounter and fantastically describing how events unfold for different people is all bloody incredible. It is perhaps the warm and inviting quality of the storytelling which results in this not being the most effective of satirical texts, because satire requires you to step back and think about what you’re reading and why it’s funny, whereas beyond recognising a few real-world allusions (my favourite of which is Mr Popular Sentiment, Trollope’s less-than-complimentary imagining of Charles Dickens), you as the reader think and react along with the characters rather than from a lofty distanced position, and the material that you find funny is funny in-world rather than necessarily because is aptly reflects real-life folly or works in some other meta-textual way. The warmness of the story which, at its heart, is a story of an old man trying to do right by his morals and his friends, doesn’t really allow for the most dramatic of plot resolutions, and indeed this book displays some rather odd choices in its pacing of such plot resolutions. Things are established as relatively chaotic in the storyline, with different characters with different motivations striving away and characters with the same motivations approaching their problems in different ways to overcomplicate the affairs at hand, but ultimately there is little payoff for all these hectic antics. The law suit that sets the plot in motion is established to have been poorly founded and generally worthless from the get go, which isn’t a problem in of itself because the titular warden’s guilt about the matters of the law suit are well-founded even if the law suit is not, but the law suit is dropped without fuss and without any serious consequences around halfway through the book, despite all the elements at play and the goings-on behind the scenes that led to the law suit being dropped. The warden’s story ends without fuss or without anything particularly dramatic happening, save a few heated debates and incredulous blustering figures imploring him to reconsider his choices, and overall just seemed a bit empty because of the lack of any real stakes. The actual ending was at times very poignant (and without any real clue as to how things may be resolved), and at times a tad rushed to tie up its loose ends and get in a bit more quaint narration endearing the characters of the story and speaking regrettably of leaving this story to face times to come; I suppose this somewhat reflects the book’s content, if perhaps losing sight of the life-affirming nature of it, and it is if nothing else bittersweet. By fuck it’s going to make me read the next book in the series to see what happens to these lads next, because hell yeah there’s a series of these. WOULD I RECOMMEND?: HELL YES

Dead Babies - Martin Amis I was cognisant of the preponderance of texts that I’ve been reading recently being all warm and powerful and life-affirming, and therefore I decided to read this and Wilt for a mindless black comedy experience. This was perhaps not the most mind-numbing of reads, being a rather fucked up book, but it’s a bloody good read regardless. Amis’ writing is absolutely incredible; his strengths lie in giving life to abstract scenarios and feelings with evocative metaphors, and characterisation that is complex and beautifully written. With this writing Amis paints a picture of a fucked up urban setting, a setting that I would attempt to succinctly summarise but know in my heart that to try would only be to amateurishly ape Amis’ own fantastic scene-setting descriptions, and so I will instead merely say that it is fucking good. It works because it’s a very grim setting, but it is also curiously sensationalised, while still being grounded in its grim content; there are gangs of cold calculating men who perform elaborate synchronised morbid atrocities, there is a pseudoscientific drug-mixing station with different uppers and downers to chemically alter or emphasise any aspect of a person’s character, and one of the main characters is a grotesque dwarf with nails digging into his feet from shoddily-constructed platform boots and a collection of grotty vintage porn magazines. Everything is primal or gross or part of some sort of beautiful chaos, and it’s an incredible hyperbolic depiction of society’s seedy underbelly, reminding me at times of A Clockwork Orange. The powerful narrative voice lends the grotty and grotesque setting a touch of high-mindedness or high society flare. The characters make up a fun array of misfits, from the pathetic to the neurotic to the braggart to the horrifyingly fucking villainous, and with a small cast of characters we get to learn everyone’s opinions of one another and how they bond, which was surprisingly well done considering how diverse and angsty all of them are, and pleasantly surprising that they don’t all just genuinely hate each other because of how different they are from one another. The narrative voice also helps out here; its direct commentary on the main narrative reminded me of Trollope, but this is not narration to warmly speak of the characters or implore the reader to think upon them positively, but rather to remark with grim resignation the actions of the characters or the shitty direction their lives are taking them. And now we come to the tricky subject of comedy, a tricky subject because some people will no doubt argue that this book is too fucking awful to be considered as such. The setup of the story seems like Trainspotting, a grim world periodically ameliorated with little scenes of light-heartedness and comedy, and at the start of the book it’s easy to laugh at the vileness of of the characters’ actions. As the book goes along, however, the narrative moves from the overall setup of a debauched weekend of dissolute youths to being determined by the dramatic actions of the characters, spurned by simmering emotions (and sometimes catalysed by large quantities of experimental drugs) and often ending very very poorly. It is here that some of the more disgusting plot points of the story occur, and yet interjected into it are elements of farce so ludicrous that you have no recourse but to laugh at them in the face of all the horrors surrounding it. Or maybe that’s just me. WOULD I RECOMMEND?: HELL YES, IF YOU’RE IN THE MOOD FOR SOME FUCKED UP SHIT

Wilt - Tom Sharpe This may well be my shortest book ramble to date, and indeed I deliberated whether or not it was worth writing, simply because it is another example of books that I’ve liked in the past and continue to enjoy. There’ll probably be a bit of a crossover between this ramble and my ramble on Roald Dahl’s short stories, as their black comedy content has much in common. This is a relatively short book that takes you on a pretty wild fucking journey of farce; ridiculous situations and misconstrued motivations abound, and even from the confines of a prison confinement our eponymous protagonist is able to escalate the plot like you wouldn’t fucking believe. The general premise, such as it is, revolves around an uneasy marriage of a domineering wife and a put-about unmotivated husband who humours himself with elaborate dark fantasies of murdering her, and the plans of actualising these fantasies (catalysed in part by some villainous Americans) spirals into all sorts of wacky shenanigans that I shan’t spoil. I went into this book at a friend’s recommendation, and at around one hundred pages in I commented that there are parts of the story that veered too far into plain old cringe, and that overall the story seemed to be shaping up to a rather vengeful story written as the author's attempt to vent frustrations. My friend said that Sharpe was ‘playing [me] like a pipe’, and so I persevered, and can subsequently say that all such thoughts are swiftly quashed by the rest of the book, which is an absolute tour de fucking force of fantastic time-wasting and nonsense that leaves all that real-world cringe or vengeful thoughts of worldly injustice behind. And of course we get a satisfying life-affirming ending, because this is that sort of book; everything’ll be resolved in the end with smiles and ironic twists. This isn’t exactly a book with incredibly florid prose or life-changing writing, but what it is is a book written by an incredibly smart person, which is instrumental in shaping this book’s fucking fantastic (and often dark as fuck) comedy, contributing some phenomenal turns of phrase, and as a source, much like Dahl, of a hundred throwaway references to miscellaneous academic tidbits that Wilt employs in his endlessly hilarious time wasting. WOULD I RECOMMEND?: YES

Other shit that I read that I couldn’t be arsed to ramble about: Shakespeare’s Local by Pete Brown (conspicuously NOT about Shakespeare’s local pub but nonetheless about the long history of my all-time favourite pub (The George in Southwark), funny and informative (if noticeably written by a man who is not a specialist in some of the subjects he talks about, for people who are also not specialists in said subjects), would recommend if you can go down to the George and have a pint there while contemplating the history) and Green Men and White Swans by Jacqueline Simpson (a great and informative book with a subject matter seemingly tailor fucking made for me, greatly enjoyed Simpson’s none-too-subtle asides about peoples’ over-intellectualising of pub names, was mildly disappointed that my own home town has got fuck all in the way of cool folklore-inspired pub names, would absolutely recommend alongside a cheeky bev).

#book reviews #book rambles #alice in wonderland #through the looking glass #lewis carroll #wilt #tom sharpe #dead babies martin amis #the third policeman #flann o'brien #clarice lispector #the warden #anthony trollope #i had a load of great ideas in mind for my usual nonsense wittering in the tags but i've totally forgotten all of my great ideas #what an absolute piss take #i really need to be writing my essay right now