→ January 10, 2011
→ By

A Pale View of Hills.

Kazuo Ishiguro is best-known today for Remains of the Day, which really means he’s best known for making the book that they turned into that movie, although another one of his novels, the dystopian heartbreaker Never Let Me Go, was recently made into a movie starring the human dimple. (Both books are on the Klaw 100.) His debut novel, A Pale View of Hills, was critically acclaimed at the time of its release but has been obscured by those two later works, although it showcases both Ishiguro’s strong yet beautiful prose and his ability to create dreamlike settings that keep the reader off balance through shifts in time or realistic unrealism.

The narrator of A Pale View of Hills is Etsuko, a Japanese widow living in England after the suicide of her older daughter, Keiko, her only child from her first marriage, to Jiro, a traditional Japanese man. Her younger daughter, Niki, from her second marriage, comes to visit from London, triggering a series of flashbacks for Etsuko to when she was pregnant and struck up a relationship with the peculiar widow Sachiko and her daughter Mariko shortly after the end of World War II. Sachiko and Mariko have an odd relationship; Sachiko leaves the ten-year-old Mariko home alone for long periods and doesn’t require her to go to school, while Sachiko herself pursues a lopsided relationship with the American serviceman known as “Frank.” Mariko appears to be bright, but is scarred by horrors she witnessed during the end of the war, and her mother appears unable to help or even cope, escaping instead into her alternate reality with her paramour.

Those flashbacks are intertwined with another series of reminiscences to a time when Jiro was alive and his father, Ogata-san, came to visit Jiro and Etsuko for several days. Jiro himself was fairly cold and distant with his father, who seemed at that stage to have a stronger relationship with his daughter-in-law than he did with his son, as the latter is poisoned by the gap between Ogata-san’s views on the loss of Japanese culture with their defeat in war. (Ishiguro explored that topic, of coming to terms with Japan’s imperialistic, jingoistic past after World War II, in An Artist of the Floating World, a book I found less successful and less enjoyable than Hills.)

Ishiguro enjoys creating layers of mystery, then revealing only some of the answers as the book nears its end, a habit that covers this book from start to finish as well. One of those mysteries is left up to the interpretation of the reader, and I’m going to discuss my own belief, so consider this your spoiler warning.

Near the end of the book, Etsuko shifts without warning when relaying a conversation between herself and Mariko from referring to Sachiko in the third person to speaking in the first person – that is, she is suddenly Sachiko. Their two stories have substantial, if slightly imperfect, parallels, but Mariko could easily be Keiko, sharing her alienation and depression, since Keiko is depicted through memories as withdrawing herself gradually from her family and life, eventually doing so completely to the point where her body isn’t discovered for several days because she lived alone with no contact with family and apparently little or none with friends. Sachiko-Etsuko is convincing herself that she’s acting in her daughter’s best interests when she is attempting to smother her grief through this chase of a foreign man whose interest in her is mainly sexual; if you believe the two women are one, the strongest interpretation is that the American, Frank, is not the man Etsuko eventually marries, not just because of the different nationalities but because of Frank’s irresponsibility.

In this interpretation, Ishiguro’s overriding theme is that of guilt and regret, something he covered again in Remains and Floating World – our difficulty or even inability to come to terms with the past, with our own actions and those of others that affected us, with the hurt we dealt to others (with or without intent) and with how our choices crippled our own chances for happiness. Etsuko’s dissociation from her memory of Mariko-Keiko is her way of coping with her own guilt: As she grieved the loss of Jiro, her quest for her own happiness (or simply a facade of normalcy) forced her daughter’s best interests into the background just when she needed more of her mother’s love and attention. Etsuko acknowledges at one point that she knew the move from Japan to England would exacerbate her daughter’s problems, but clearly she made the move anyway, for what must have been purely selfish motives. Neither Japanese society of that time nor English or American societies since then accept selfishness on the part of the mother relative to the needs of the child, and Etsuko has to whitewash her own memories to live with them.

A Pale View of Hills includes Ishiguro’s usual digressions about music and art, and Etsuko and Ogata-san have an exchange on the art of cooking that spoke to me:

”Are you really planning on becoming a cook, Father?”
“It’s nothing to laugh at. I’ve come to appreciate cooking over the years. It’s an art, I’m convinced of it, just as noble as painting or poetry. It’s not appreciated simply because the product disappears so quickly.”

When Ishiguro was writing the book, in the very early 1980s, he probably couldn’t imagine our modern culture of celebrity chefs, who earn far more than painters or poets, although I think his point about the lack of respect for a product that is consumed rather than observed or read is a sound one.

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→ December 30, 2010
→ By

Put Out More Flags.

There was a young man of military age in the studio; he was due to be called up in the near future. “I don’t know what to do about it,” he said. “Of course I could always plead conscientious objections, but I haven’t got a conscience. It would be a denial of everything we’ve stood for if I said I had a conscience.”
“No, Tom, they said to comfort him. “We know you haven’t a conscience.”
“But then,” said the perplexed young man, “if I haven’t got a conscience, why in God’s name should I mind so much saying that I have?”

Evelyn Waugh may be best known for Brideshead Revisited (just $6 new at that link), but on balance I think I prefer his savage satires, from the incomparable Scoop to Decline and Fall to the book that includes the passage above, his World War II-era sendup Put Out More Flags. It’s funny and farcical but paints a very unflattering portrait of aimless upper-class twits and pseudo-intellectuals in the early years of the war.

The novel follows a small ensemble of these anti-protagonists, led by professional ne’er-do-well and scam artist Basil Seal, whose primary life goal seems to be avoiding any sort of honest career, or at least any career that would interfere with his other life goals of gadding about. His sister, Lady Sothill, has become the billeting officer for her town and is beset by three parentless children who cause mayhem and destruction with every host family. One of Basil’s temporary mistresses, Poppet Green, is an ardent communist whose poet friend, Ambrose Silk, joins the Ministry of Information and decides to put out a fascist-leaning literary magazine as a front. Basil’s more permanent mistress, Angela Lyne, is separated from her grotto-obsessed husband Cedric, who is one of several characters in his mid- to late-30s who hope to play at war to eliminate some hidden regrets they harbor about missing the last war.

One problem with satire is that it usually requires some understanding of the target to be effective, meaning that satires in general do not age well unless they either parody some fundamental aspect of human nature or simply layer the satire in so much humor that they can survive lack of familiarity with the underlying issue or institution. Waugh lampooned the England of that moment – the book was published in 1942 – but an almost Wodehousian silliness abounds, such as Basil’s tremendous idea to make money off his sister’s billeting gig, his scheme to weasel his way into one of the many intelligence offices in the British government, Ambrose’s constant paranoia, Peter Pastmaster’s desultory search for a wife, or the absurd exercises (with breaks for tea!) of Cedric’s platoons. Whether the English military or lesser aristocracy actually behaved in such irresponsible manners in the first few years of the war is beyond my ken, so I can’t speak to the effectivess of the satire, but after a slow start where Waugh introduces his cast of characters, the novel became quick and brilliantly funny. Some of the side plots seemed tacked-on, perhaps as a way to further the attack on some aspect of English life at the time, but in general if Basil Seal is on the scene, something ridiculous is afoot, and those parts are good reading.

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→ December 7, 2010
→ By

Edward Trencom’s Nose.

I’ll be writing up every significant trade or signing over on ESPN.com, including Adrian Gonzalez, Jayson Werth,, Marcum/Lawrie, Mark Reynolds, and
J.J. Putz.

—

Before moving on to the last two thirds of John Dos Passos’ U.S.A. trilogy, I read the first novel by Giles Milton, whose nonfiction works include one of my favorite books in that genre, Nathaniel’s Nutmeg. The novel, Edward Trencom’s Nose:, looked right up my alley, promising in its subtitle a tale “of history, dark intrigue, and cheese.” A historical mystery/detective story revolving around food, by an author I’ve read and liked? Sign me up.

You might infer from the introduction that I did not care for Edward Trencom’s Nose. That is an incomplete inference. It might be the worst novel I’ve read in the last five years. Milton’s sins are many. The book has zero suspense – you don’t find out what’s going on until the final few pages, and the way Milton unfurls the story yields no dramatic tension. The relevance of the food to the plot is minimal, and it seems more like a chance for Milton to flex some cheese knowledge than anything else. The protagonist is an aloof, self-centered idiot, and there is no three-dimensional character to be found in the book’s pages. And while the book’s jacket and reviews promised a funny book – the marketing copy on the back calls it a “mouth-watering blend of Tom Sharpe and P.G. Wodehouse,” for which the Wodehouse estate should sue – the book is terribly unfunny, crowded with obvious, futile attempts at humor and some of the worst descriptions of sex I have ever seen in any book. (Sex in Milton’s world appears to be a foul, violent act; he actually uses the word “pummeled” to describe one particular bout of coitus.)

So, since that book sucked, let me use this space to talk a little about Milton’s Nathaniel’s Nutmeg: Or the True and Incredible Adventures of the Spice Trader Who Changed the Course of History, a book I can actually recommend to you without hesitation. The book is the history of that titular spice, one that was once the most expensive foodstuff in the world (an honor that I believe now falls to saffron, at least on a per gram basis) and that played a heavy role in European colonization of the western hemisphere and southeast Asia. When doctors in seventeenth-century England claimed that nutmeg was the only reliable cure for the plague, the spice – itself the dried seed of trees of genus Myristica – became more valuable by weight than gold, spurring a rush to obtain and trade in it … if only anyone could figure out where it came from.

Nutmeg at the time was found only in the Banda Islands (in the Maluku archipelago) of present-day Indonesia, and its best source was a tiny island called Pulorin (or Puloron) by its natives but just called “Run” by Europeans of the time. It was hard to reach, hit twice yearly by powerful monsoons, and populated by unfriendly locals. The Portuguese visited the Spice Islands nearly a century before the English reached Run, but had no luck with the natives and could do little more than trade with middlemen. Beginning around the year 1600, the English and Dutch – who came to Indonesia loaded for bear, and stand accused in this book of some unspeakable acts of violence in the name of securing their nutmeg supply – began a decades-long dispute over Run Island, one that wasn’t settled until the 1660s.

Nathaniel Courthope was a factor in Borneo who led an expedition in 1616 to Run to try to break the Dutch monopoly on nutmeg. The islanders warmed to Courthope and the English, only to find themselves subjected to a brutal siege by the Dutch that lasted nearly four years, a feat Milton credits largely to Courthope’s cunning and bravery. The Dutch won the battle eventually – I won’t spoil how – but lost the larger war, eventually securing their hold on Run and all of the Banda Islands in an agreement with the English that ceded New Amsterdam to the occupying English forces. That is, we speak English today in large part because the Dutch wanted a 3 km long island in Indonesia that was the world’s main supply of nutmeg. And, in a bit of a last laugh on the Dutch, to recapture Run after the British briefly held it in 1664, the Dutch pulled a General Sherman on the island, nearly killing their own golden-egg-laying goose.

Courthope makes an ideal hero for a nonfiction book, right up to his hero’s demise, and the story of Dutch brutality against Englishman and native alike should not be lost to history just because now they’re nice people and cheer really loud for their long track speed skaters. Milton sprinkles the story with the history of nutmeg itself (and a little on its poor sibling, mace, the dried aril that covers the nutmeg seed, lacking the potent flavor of the nutmeg proper) and the prior history of the Banda Islands, but the star of the show is Courthope, giving the book some of the narrative greed that I particularly like in my nonfiction reads.

So start with Nathaniel’s Nutmeg and skip the cheese course entirely.

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→ July 14, 2010
→ By

The Unconsoled.

New blog entry on some Red Sox and Mets prospects in the NY Penn League is up. My hit from this afternoon with Colin Cowherd is also online. I’ve filed my reaction to the Blue Jays/Braves trade, so it should be along shortly.

—

One of you warned me about Kazuo Ishiguro’s The Unconsoled, but I believe I already had it on my shelf at the time and I’m pretty stubborn about at least trying books once I’ve obtained them. And it was a pretty quick read given its heft. But not only is it my least favorite of the four Ishiguro novels I’ve read, it’s just a conceptual mess that takes an interesting premise reminiscent of Philip K. Dick and forgets to flesh it out into a complete story.

The plot revolves around Mr. Ryder, a renowned concert pianist who has just arrived in an unnamed Central European town for a performance, only to find himself sidetracked by an endless series of errands and other unfinished business, because the town is populated by people he’s met before, even including a girlfriend and a sort of stepson, but he doesn’t remember any of this. Time bends in odd ways, people act and react strangely, and monologues go on for pages and pages. And the town seems to define its identity by the status of its best musicians, having cast one aside when his style fell out of vogue and a new star arrived, only to find the latter to be a broken man and a drunk.

It seemed clear to me from early on in The Unconsoled that Ishiguro was writing a realistic novel within the world of dreams – the abrupt transitions from scene to scene, the fact that two buildings on opposite sides of the town turned out to be one and the same, the way items could change within a room over the course of a conversation, and the frequent situation that should be familiar to all of you of Ryder’s inability to get to someone he’s left behind or forgotten about or just needs to reach. If that was the author’s intent, he was successful, as I was off balance almost the entire novel because various conventions of the realistic novel no longer applied.

But the execution suffered in two ways: One, Ryder’s actions became extremely frustrating. He’d fail to say or do obvious things to alleviate bad situations, such as the time a childhood friend wants to show him off to her snobby friends who doubt she knows Ryder, only to have him come along but do nothing to reveal his identity. He’s rude and even cold to the boy, Boris, to whom he is something of a father figure, and often leaves Boris on his own inappropriately. It was maddening, even more than in a novel where the main character is simply unlikeable. In this novel, he’s unreadable.

Two, the end of the novel does not answer the key question: If this is all a dream for Ryder, what on earth does it mean? Are all of these people real, or merely manifestations within his brain of stages of his life? Stephan, a young pianist, can’t seem to satisfy his parents through his music, as they insist on seeing him as a disappointment; is that Ryder’s own experience as a young man? Why does Ryder spend much of the novel fretting over the arrangements for his parents, who are coming in to see the performance, only to find out (or be reminded) that there’s no evidence they’re coming at all? Why are there at least four or five of his friends from his youth in England living in this small Central European town, all acting like little time has passed? I read the book expecting some kind of a resolution at the end, either an explicit one (e.g., Ryder wakes up) or an implicit one (e.g., Ryder starts to identify some of the parallels between the dream-world and his own past), but I got nothing, not even hints at Ryder’s pre-visit life to help me make the connections myself.

I love Ishiguro’s prose, but in The Unconsoled his dialogue was out of control, with the aforementioned long monologues (one lasted at least five pages, with not so much as a paragraph break) and very frequent repetition of phrases or meaningless points. His prose was far more in control in The Remains of the Day, and after The Unconsoled he wrote another altered-reality novel that was tighter and much more compelling, Never Let Me Go.

Next up: Geraldine Brooks’ Pulitzer Prize-winning March.

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→ May 28, 2010
→ By

Shades of Grey.

I did a quick chat today on my flight back from the SEC tournament, although the connection was a little sluggish and I didn’t get to as many questions as I usually do. I wrote about Drew Pomeranz and Anthony Ranaudo on Wednesday evening, and did a now-somewhat-dated first-round projection on Monday. I’ll update that projection over the weekend, and the new version should be out on Memorial Day.

—

I’m an unabashed Jasper Fforde ffan, recommending his books to friends, family members, and just about any of you who ask for a book recommendation. His original series involved the literary detective Thursday Next and was set in an alternate reality where the world inside books exists and can even interact with and be manipulated by people in our world. (Oddly enough, this reality also has Wales as an independent communist state.) The first book involves a villain who kills a minor character in Martin Chuzzlewit and stops the plot of Jane Eyre in its tracks. His second series, Nursery Crimes, branched off from Thursday Next’s world, instead playing with the characters from childrens’ stories, including a menacing Gingerbread Man and the happily married Punch and Judy, who still beat the tar out of each other.

Fforde has left this literary realm for a new series, with the first book released in December after a delay of over a year. Shades of Grey has its own alternate reality, a world many centuries (perhaps over a millennium) in the future where humans have devolved (or bred) to where most people can only see a single color, and which color you see and how strongly you see it affects your social and economic standing. The society of the book is called The Collective, a socialist enterprise with a long and strict set of rules known as the Word of Munsell – a reference to Albert Henry Munsell, who devised a three-dimensional taxonomy for classifying colors. And there seems to be a chronic shortage of spoons.

Enter the protagonist, nineteen-year-old Eddie Russett, who has been sent with his color-healer father to the distant town of East Carmine as a punishment, ostensibly for a prank played on the son of a prefect in his original town, but who begins to sense that East Carmine is rife with corruption and might have even seen a murder, allegedly a thing of the past in Chromatacia. As Eddie begins to dig – while trying to avoid Jane Grey, who has a reputation for doing violence to anyone who crosses her or mentions her quite retroussé nose – he runs afoul of the Gamboge family, who wield tremendous power in East Carmine, and is also taxed in trying to maintain his half-promised engagement to Constance Oxblood, a wealthy family desperate to marry its daughter off to someone with high red perception like Eddie.

Shades of Grey is macabre, twisted, and funny, like all Fforde novels, but with a stronger undercurrent of even social criticism. Much of Chromatacia’s social structure resembles that of the old Catholic Church, from strict adherence to scripture (the aforementioned Word of Munsell) to the ruling class’ use of fear and uncertainty as a tool to keep the lower classes, particularly the laboring Greys, who are one step above slaves, oppressed. Chromatacia’s socialist system also comes in for some withering satire, as the system is inherently corrupt and open to abuse by people at all levels who shirk their duties or find ways to line their pockets outside of the official reckoning. And, of course, there are obvious parallels to racial or socioeconomic prejudices, although Fforde doesn’t overplay them, and the perceptive-versus-Grey dichotomy is muted by all of the infighting among Yellows, Reds, and Purples.

Fforde’s wordplay, a huge element in his earlier series, is still in evidence here, including the references to Munsell and the name of the test used to determine color perception – Ishihara, named for the man who devised those circles of dots used to test for color blindness. He has fun with names, delving into some obscure colors while also offering some puns and other almost-unforgivable combinations like the Grey named Zane, and he even crafts a little slang for his artificial world, such as the term used for people who abuse certain shades of green that heal pain or give pleasure when viewed – “chasing the frog.”

The great benefit of Shades of Grey for anyone new to Fforde is that it requires no foreknowledge – you’ll catch more allusions if you’re familiar with colors and a little of the science of color, but you could read this book cold and still enjoy it. The Eyre Affair and its sequels are fantastic, but if you don’t know a little about British literature, you’ll miss too many of the jokes – I ended up re-reading the book after reading Jane Eyre, and only then did I fully understand why the book’s conclusion is so funny. Even the Nursery Crimes books, starting with The Big Over Easy (starring detective Jack Spratt and … well, you probably know about his wife), need a little knowledge of nursery rhymes for maximum enjoyment. I recommend everything he’s written, but Shades of Grey gives you an opportunity to enter the demented, witty mind of Jasper Fforde without having to finish any prereq’s.

Next up: Dawn Powell’s Angels on Toast.

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→ May 1, 2010
→ By

An Artist of the Floating World.

Kazuo Ishiguro appears twice on the Klaw 101, at 96 with Never Let Me Go and at 62 with Remains of the Day. That latter novel was preceded by An Artist of the Floating World (#91 on the Guardian 100), an interesting book that seems in many ways to have been Ishiguro’s tuneup for Remains, as both revolve around older men who find themselves forced to reflect on the professional and personal decisions they made earlier in life.

The artist of the title is Masuji Ono, a widowed father of two who lost his wife in a bombing and his son in combat during World War II, who has made a name for himself as a painter of patriotic images in support of the imperialist regime that ultimately led the country into that conflict. Now retired, Ono finds his relations with his daughters strained, but seems vaguely unaware of why, as the younger daughter moves towards a potential marriage after an earlier match fell through unexpectedly the previous year.

Ono narrates the book and the reader spends most of it following his peripatetic thoughts, jumping back to his formative years as an artist, his heyday leading an artistic circle in the bars of the “pleasure district,” and through conversations with his daughters and old friends that gradually leave him reeling by forcing him to reexamine his legacy. Yet even as he moves towards a quiet acknowledgment of the current unpopularity of his prior position and role, he retains some pride in his choices – or chooses to rationalize them away:

…I start to think of Sugimura and his schemes, and I confess I am beginning to feel a certain admiration for the man. For indeed, a man who aspires to rise above the mediocre, to be something more than ordinary, surely deserves admiration, even if in the end he fails and loses a fortune on account of his ambitions. It is my belief, furthermore, that Sugimura did not die an unhappy man. For his failure was quite unlike the undignified failures of most ordinary lives, and a man like Sugimura would have known this. If one has failed only where others have not had the courage or will to try, there is a consolation – indeed a deep satisfaction – to be gained from this observation when looking back over one’s life.”

Remains of the Day succeeded because the main character was so well drawn and his cause for regret so subtle that the reader realized the cause for regret as the protagonist did, but in Artist, Ishiguro made the problem obvious to the reader as his main character fumbles his way towards the conclusion. Ono comes across as obtuse, not just in denial but simply unaware of how he’s seen or why his relations with family members, friends, or colleagues have changed over time. As Richard Russo’s Mohawk felt like a practice run for Empire Falls, this felt like a practice run for Ishiguro’s next novel, a fine read but nowhere near the quality of the two later novels of his that I’ve read.

Next up: James T. Farrell’s Young Lonigan, the first book of the Studs Lonigan Trilogy.

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→ March 31, 2010
→ By

Island.

About to leave Arizona, but my parting shot was an appearance on Bill Simmons’ B.S. Report podcast today, talking about the upcoming season, some interesting rookies and young starts, and why RBIs and pitcher wins suck.

—

Island was Aldous Huxley’s last novel, his own counterpoint to his most famous novel (#72 on the Klaw 100) Brave New World. The latter was a classic dystopian novel, while Island follows the model of utopian novels by laying out its author’s personal philosophies for a greater, more progressive society in the most stilted, boring way possible.

In Island, journalist Will Faranby is part of a conspiracy that revolves around a coup on the peaceful island of Pala, where a utopian society has grown over the previous 100 years with little interference from the outside world. Faranby ends up on the island by accident, and ends up in the Palanese medical system, meeting most of the local leaders, and learning about their classless society, their community-based economy (socialistic, but not purely socialist), their Buddhist-influenced spirituality, and their use of the psychedelic drug moshka (the book’s analog for LSD, which Huxley used in his later years and promoted for its “mind-expansion” benefits). Along the way, Faranby compares and contrasts what he finds in Pala to what he remembers of Britain, and Huxley is unsparing in his criticism of all aspects of modern British life, such as its system of education:

“You never saw anybody dying, and you never saw anybody having a baby. How did you get to know things?”
“In the school I went to,” he said, “we never got to know things, we only got to know words.”

Utopian novels are, as a rule, difficult reads because they’re so busy describing their utopias that they dispense with plot, and Island is no different, as there is virtually no story and absolutely no tension. Huxley set up the coup story but largely drops it until the last five pages of the novel, which read as an afterthought added because he had to end the book somehow. If you’re interested in a 350-page sermon on Huxley’s idea of a paradisiacal society, I would recommend Island, but I found the book a chore, and for the rest of you I’d recommend Brave New World instead.

Next up: James Michener’s Pulitzer Prize-winning short story collection, Tales of the South Pacific, later adapted into a famous musical by Rodgers and Hammerstein.

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→ March 15, 2010
→ By

Tinker, Tailor, Soldier, Spy.

John Le Carré’s Tinker, Tailor, Soldier, Spy is one of his two best-known novels, and even placed at #74 on the Guardian‘s list of the 100 greatest novels of all time, a ranking I have to say I find rather dubious even though I thought it was an excellent read and a smart, realistic antidote to the standard spy novel featuring a dashing hero who’s always in great peril when he’s not in bed with a gorgeous double agent.

The protagonist at the heart of TTSS couldn’t be further from the James Bond mold, as George Smiley begins the novel in disgrace both at work, where he’s been forced out after a putsch, and at home, where his wife Ann has left him after years of infidelity. When a former agent, presumed defected, resurfaces with a story of a Soviet mole in The Circus (the top tier of what was then known as MI-6), Smiley and a few other folks on the outs at the Circus begin an effort to root out the mole, who appears to have been intimately involved in the palace coup that also resulted in a British agent getting arrested and shot in Brno and in several networks in Eastern Europe blowing up.

The brilliance of TTSS is that the novel is gripping with very little action, and no action in the novel’s present day until the final sequence where Smiley and his group set a trap for the mole. Apprised of the possible existence of the mole – the source for that info is dodgy at best – Smiley sets to work like an old-school detective, unraveling the story by talking to others ousted in the putsch and going after documents related to the compromised operation in Czechoslovakia as well as the Soviet leak who may in fact have been handling the double agent at the Circus. Le Carré carries it off through an intense dedication to realistic dialogue and actions – if there was a false note it fell below my detection threshold – and with flourishes of clever writing:

“Pulling the rug out when we’re all but home and dry.” His circulars read that way, too, thought Guillam. Metaphors chasing each other off the page.

He interlaces personal and professional issues for several of his characters, including Smiley and Peter Guillam, Smiley’s main accomplice in the investigation, the emotional counterpoint to the ironically-named Smiley’s stoicism, yet the book never drags as so many pensive novels do, where the characters’ inner thoughts overwhelm the story at the novel’s heart. There is no question that Smiley and company are detectives solving a mystery and that we are ultimately headed for some sort of denouement – a capture, a confrontation, an attack, whatever, you know that you’re driving towards a finish line, and even those asides into the minds of Smiley or Guillam or another character are just fuel for the engine that’s taking us there.

The Spy Who Came In from the Cold, which Le Carré wrote before TTSS, relies on more traditional sources of tension, with the spy of the book’s title finding himself behind enemy lines and eventually in some jeopardy, although it is still relatively light on action. It’s a better place to start than Tinker, Tailor, Soldier, Spy, but if you’ve read and enjoyed it I’d recommend coming here next.

—

One thing that struck me while reading TTSS: Out of the seven main characters, three bear the names George, Percy, and Bill. And on the penultimate page of the book is the line: He wished he had brought her fur boots from the cupboard under the stairs. Anyone else think J.K. Rowling read a little Le Carré when she wasn’t reading Anthony Powell?

Next up: Something current, The Dolphin People by the author writing under the pseudonym Torsten Krol.

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→ January 13, 2010
→ By

Who Killed Iago?

James Walton’s Who Killed Iago?: A Book of Fiendishly Challenging Literary Quizzes is, as the title implies, a book of trivia tests about literature, trending heavily towards classics and Brit lit. It’s based on a radio program in England called The Write Stuff which, in the tradition of British quiz shows, makes the typical American quiz show look like Chutes and Ladders*. I’ve read plenty of the classics and know a little bit about nearly all the classics I haven’t read, and I struggled to score around 50% for the book as a whole – which, of course, makes it fun.

*I’ve been to England once, when I was 17, and we caught a game show on British TV called Cross-Wits, on which contestants were given clues to a cryptic crossword puzzle and roughly 8 seconds to solve them, which they did with shocking frequency. This was my introduction to cryptic crosswords, now one of my favorite types of puzzles (albeit one for which I rarely have time). Even at the time, none of us could imagine a US television network airing such a program, given how much more difficult it was than any game show we’d ever seen in the U.S., and given the enduring popularity of the ultimate game show for morons, Wheel of Fortune, I feel confident that even the reach of the long tail won’t bring a cryptic crossword show to American airwaves any time soon.

The book comprises ten quizzes, each in five parts. One part revolves around a featured author, with subjects in this volume ranging from Jane Austen (I only scored 5/10, missing two easy questions on my two least favorite Austen novels) to Stephen King to Shakespeare to J.K. Rowling. One part comprises questions in the form of lists of four things – authors, titles, characters, what have you – leaving you to determine the connection between them. The other three parts of each quiz vary in theme, although literary errors pop up a few times, and he runs through some obvious ones like literary firsts and lasts and, my favorite, a set of questions on last lines of famous but long books that most people never finish (2/6, and I’ve never finished either book).

If you’re into literature across the ages, Who Killed Iago? should be up your alley, but it is understandably lighter on contemporary literature with only occasional forays into pop fiction (even Twilight appears once). It even included, in reverse, a Shakespeare question I’d seen before in an online trivia challenge a few months ago – “Which stage direction explains the disappearance of Antigonus from The Winter’s Tale?”

Oh, and if you’re wondering the answer to the question in the book’s title, highlight the line below:
Trick question: Iago is alive at the end of Othello, although he’s being dragged off stage to be tortured.

Filed Under: Nonfiction Tagged With: , , , ,
→ December 19, 2009
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The Human Factor.

“And yet I’d always believed that one day I would see him again … and then I would be able to thank him for saving Sarah. Now he’s dead and gone without a word of thanks from me.”
“All you’ve done for us has been a kind of thanks. He will have understood that. You don’t have to feel any regret.”
“No? One can’t reason away regret – it’s a bit like falling in love, falling into regret.”

Graham Greene’s The Human Factor is a spy novel that, as the title implies, focuses heavily on the human cost of espionage, particularly the psychological cost, as it follows MI6 agent Maurice Castle through his own reexamination of his motives and loyalties to an amoral institution that might be more dangerous than the people they’re allegedly fighting.

Castle is a British-born agent who, during a lengthy field op in South Africa, fell in love with a black woman and thus also fell afoul of the laws against interracial relationships during that country’s apartheid era. That woman, the Sarah of the quote above, escaped South Africa with the help of a prominent Communist and now lives with Maurice and her son (his stepson) in a quiet London suburb. Castle’s simple existence is compromised by a spiritual bankruptcy that becomes clearer to Castle as an investigation into a leak from his small department leads to unforeseen consequences and forces him to make a life-altering choice.

Greene’s view of spy games was that they were more mundane than typical spy novels and movies would imply, and the novel has very little violence and nothing you could call action, instead focusing on the individual characters, from the complex Castle to the true believer Percival to the unregenerate South African partisan Muller, and how they view and react to the possibility of a leak. Castle’s position is precarious by definition, as he’s one of only three or four potential leaks in the department, and he has a known connection to the communist faction in South Africa, whose white-led regime was at the time a battleground for the Cold War powers. He’s aware of the investigation, but when he sees how far Percival might go to protect the agency, regardless of the moral or legal implications of his action, he’s forced to act.

Greene was among the best practicioners of the spy novel for his very reluctance to rely on action sequences and overt violence, both of which are crutches for a novelist in any genre outside of hard-boiled detective fiction. Setting that restriction on his writing meant Greene had to spend more time on character development and crafting realistic dialogue and actions for his characters, whether he was writing a farce or, as in this novel, a serious commentary. He paints a bleak picture of intelligence services as bureaucracies filled with men who either have no moral compasses or are willing suppress them for the good of the agency, and in a secondary theme takes more than his share of shots at the apartheid policy of South Africa that was still in effect for sixteen years after The Human Factor‘s publication. But while Greene fleshes Castle out fully – not that he’s all that sympathetic, and it is his spiritual bankruptcy more than anyone’s that defines the book’s lack of a fixed morality – most of his secondary characters get secondary treatment. We see, for example, glimpses of the lonely career man Daintry, but his subplot has no start or finish and he appears in some ways to have wandered on to the wrong set. Cynthia, the primary secretary for Castle’s group, plays a key role in the investigation portion of the plot, but as a prop, not as a defined character. The Human Factor is thus more a story of bureaucratic decay in the intelligence service in pursuit of questionable means aimed at dubious ends than a story of its characters, even though the climax and denuoement are very much about Castle himself.

Next up: V.S. Naipaul’s A House for Mr. Biswas, which appears on both the Modern Library and TIME 100 lists and is one of two books that seem to be at the head of the Nobel Prize-winner’s canon.

Filed Under: Literature Tagged With: , , , ,