HoJa do

Howard Jacobson apparently writes comic novels.   I have never found his writing funny, and it often strikes me as being in poor taste.  (A Jewish anti-Zionist group called “ASH”, for example?)  In a review today of his latest novel, Theo Tait puts his finger on what I don’t like about HoJa’s books:

Zoo Time conforms closely to the classic recipe for a Howard Jacobson novel. Take a childless, Jewish middle-aged man, born in Manchester or thereabouts, now living in London pursuing a profession not unlike the author’s:  in the past, we’ve had columnists, cartoonists and academics; this time, he’s a novelist, Guy Ableman. Give him ungovernable romantic urges and a powerful but embattled sense of self-worth: Guy, whose first novel stars a zoo keeper and her lustful monkeys, describes himself as “a man ruled by pointless ambition and a blazing red penis”. Throw in some marital difficulties and outré sexual enthusiasms: this one briefly covers the classic Jacobson kinks – shoe fetishism, oedipal fantasy, and the powerful desire to be cuckolded – but focuses chiefly on Guy’s wish to bed his mother-in-law. Add some agitated discussion of Jewish identity. Then stir it all up with a lot of discourse, and of discourse about discourse. Ensure that the plot is minimal, and largely circular. And there it is, the distinctive feel of Jacobson’s work – like being trapped in a confined space with a particularly garrulous pervert.
. . . .
The killer for Zoo Time is that Jacobson has a limited talent for invention, and certainly very little inclination for it. As with many authors possessed of a powerful voice, it tends to crowd out everything else in the novel: “A writer such as I am feels he’s been away from the first person for too long if a third-person narrative goes on for more than two paragraphs …” Guy’s every passing thought is generously and sometimes brilliantly transcribed, but otherwise Jacobson seems to have no idea what to do with his stick people, who couple and uncouple, turn gay or Hasidic, to no discernible pattern.”

The problem with a powerful voice, as the novels of Bellow and Roth also demonstrate, is that you only reach those readers who appreciate the persona behind the voice, and who don’t mind being trapped in a confined space with him.  Me?  I’ll skip sharing an elevator with Jacobson or Roth or Bellow, and take the stairs, thanks.
POSTSCRIPT (2014-05-18):  Ivan Klima in his memoir, My Crazy Century (Grove Press, London, 2014), writes of meeting Philip Roth in communist-ruled Czechoslovakia in the 1970s, and inadvertently captures what is bad about Roth’s (and HoJa’s) fiction:

Philip Roth, the third American prose writer who visited us several times during the first few years after occupation, seemed to me unlike other Americans in one noticeable way:  He was not fond of polite, social conversation; he wanted to discuss only what interested him.”  (Page 308)

POSTSCRIPT (2015-03-28): Howard Jacobson on his novels: “I was not, in my own eyes, a comic novelist, . . .”. Well here is something we can agree on! To be called a comic novelist, one first has to write novels which are funny.
POSTSCRIPT (2015-06-04): Last weekend, I found myself not ten paces away in the same near-empty room as HoJa, the entrance Hall of King’s College London, where he had come to participate in the Australian and NZ Festival of Literature. I could easily have approached him, but I could think of nothing positive to say.
POSTCRIPT (2018-06-03): In a New Yorker tribute by David Remnick to Philip Roth, who has just died, we read (issue of 4 & 11 June 2018):
“I once asked him [Roth] if he took a week off or a vacation. “I went to the Met and saw a big show they had,” he told me. “It was wonderful. I went back the next day. Great. But what was I supposed to do next, go a third time? So I started writing again.”
Having spent whole days enchanted in just two or three rooms of the Met, I am appalled by the lack of imagination, particularly visual and tactile imagination, expressed by this statement. It summarizes succinctly much of what I dislike about his fiction, all self-obsessed words and no imagination.

Two lists of books

In succession to this post which seems to have originated a meme, herewith two lists of novels – one list influential when younger, and the other later, with influence measured by strength of memory.  In each case, I include a couple of works of non-fiction, because of their superb writing.
The rules only allow listing of one book per author.   In fact, all the books of some writers would merit inclusion.  In this group, I would include Brautigan, Camus, Conrad, Faulkner, Gordimer, Ishiguro, H. James, Joyce, Maugham, Perec and Turgenev.
Influential when younger:

  • Albert Camus:  The Plague
  • JM Coetzee:  Waiting for the Barbarians
  • Joseph Conrad:  The Secret Agent
  • William Faulkner:  As I Lay Dying
  • Nadine Gordimer:  Burger’s Daughter
  • Joseph Heller:  Catch-22
  • Ruth Prawer Jhabvala:  Heat and Dust
  • James Joyce:  Ulysses
  • Franz Kafka:  The Trial
  • Arthur Koestler:  Darkness at Noon
  • William Least Heat-Moon:  Blue Highways:  A Journey into America
  • Doris Lessing:  The Diary of a Good Neighbour
  • Thomas Mann:  Dr Faustus
  • Gabriel Garcia Marquez:  100 Years of Solitude
  • W. Somerset Maugham:  The Razor’s Edge
  • Herman Melville:  Moby Dick
  • Gerald Murnane:  Landscape with Landscape
  • Michael Ondaatje:  Coming Through Slaughter
  • Bertrand Russell:  The Autobiography
  • Jean-Paul Sartre:  Nausea
  • Mikhail Sholokhov:  And Quiet Flows the Don
  • Alice Walker:  The Color Purple
  • Patrick White:  Voss
  • Yevgeny Zamyatin:  We

Influential more recently:

  • Henry Adams:  The Education of Henry Adams
  • Richard Brautigan:  An Unfortunate Women:  A Journey
  • William Burroughs:  Naked Lunch
  • Italo Calvino:  If on a Winter’s Night a Traveller
  • Robert Dessaix:  Corfu
  • Shusaku Endo: Silence
  • Mark Henshaw:  Out of the Line of Fire
  • Kazuo Ishiguro:  An Artist of the Floating World
  • Henry James:  The Princess Casamassima
  • Ryszard Kapuscinski: The Emperor:  Downfall of an Autocrat
  • Naguib Mahfouz:  The Journey of Ibn Fattouma
  • Norman Mailer:  Harlot’s Ghost
  • Alberto Moravia:  Boredom
  • Georges Perec:  Things:  A Story of the Sixties
  • Antonio Tabucchi:  Pereira Maintains
  • Henry David Thoreau:  Cape Cod
  • Ivan Turgenev:  Fathers and Sons
  • Glenway Wescott:  The Pilgrim Hawk

As these lists may indicate, there are some writers (eg, James, Turgenev) whom one may only appreciate after a certain age and passage of years.
On the other hand, for various different reasons, books by the following authors do not speak at all to me.

  • The family Amis
  • Saul Bellow
  • The family Bronte
  • Peter Carey
  • David Caute
  • George Eliot
  • Richard Ford
  • Graham Greene
  • Ernest Hemingway
  • Howard Jacobson
  • Thomas Keneally
  • Milan Kundera (the Benny Hill of Czech literature)
  • Iris Murdoch
  • Anthony Powell
  • Marcel Proust
  • Philip Roth
  • Tom Sharpe
  • Anthony Trollope
  • PG Wodehouse
  • and many more.

For some of these authors, the issue may be a generational one:  for example, I know of no members of late Generation Jones or later-born readers who appreciate that early-Baby Boomer obsession, A Dance to the Music of Time, Powell’s long-winded novel sequence.   Added 2013-02-12:    The age threshold of my personal sample is confirmed by that of Max Hastings, writing in 2004:

Anthony Powell’s fan club, always far smaller than that of his contemporary Evelyn Waugh, will continue to shrink as admirers die off and are not replaced.  Nobody whom I know under 40 reads his books, while Waugh’s position as the greatest English novelist of the 20th century seems secure.”

Of course,  not everyone shares my low opinion of Roth’s work.

Recent reading 5

A list, sometimes annotated, of books recently read:

  • Richard Bassett [2012]: Hitler’s Spy Chief. New York: Pegasus. A biography of Admiral Wilhelm Canaris, head of the Abwehr. This book appears to be a reissue (also revised?) of a book first published in 2005. The subject and argument of the book are fascinating, but sadly this is not matched by the writing, which is just appalling.

    The first problem is with the status of the book. The inside cover pages say “copyright 2011”, and “First Pegasus Books hardcover edition 2012”, yet the Acknowledgements section is dated 2004. Various references to contemporary events throughout the book also indicate a date of writing of around 2003 or so. The front section contains a “Preface to the American Edition” which is undated, but cites letters written in 2008 and 2009. The author’s sloppiness with dates is manifest throughout the book, and it is often very hard for a reader to determine exactly which year events being described actually happened.

    A further great sloppiness concerns the use of names – many people, like citizens of Indonesia, appear only to have surnames. Later references will often find a first name attached to the surname – is this the same person, one wonders? It is as if the author assumes we know as much as he seems to know about minor Nazi officials, and temporary clerks in MI6.

    The book actually reads like the author’s narrative notes for a book rather than the book itself, with much background information missing or assumed to be known by the reader. Is this his first draft perhaps, ready for editing? How could one write on the topic of German foreign intelligence in WW II without discussion of the XX Committee, for example? Admittedly, the author does make one single reference to this operation (on page 280, out of 296 pages of text), but with no explanation of what the committee was doing or an evaluation of its work, and not even a listing in the index. And given the author’s argument that Canaris was an internal opponent of Hitler from before the start of WW II, then an analysis of the alleged success of the XX operations in outwitting Nazi intelligence is surely needed here. Was Canaris complicit in these operations, for example? Especially if, as the author believes, Canaris met with his British opposite number, Sir Stewart Menzies, during WW II.

    And like a person too eager to please, the author’s sentences run on and on and on, with clause after subordinate clause, each introducing a new topic or change or direction, or dropping yet another name, in some drunken word association game. Where were the editors when this book was submitted? On vacation? On strike? Reading the book requires a reader to fight past the author’s appalling prose style to reach the interesting content. Sadly, Admiral Canaris still awaits a good English-language biography.

    The book makes a very strong claim, which is not supported by the citation given by Bassett. On page 167, we read:

    “in Finland where the British forces sent to help the Finns against the Soviets in 1940 were actually assisted in their passage by the Germans. German air and land forces were instructed not to interfere with the progress of these British forces.”

    For this very bold claim, Bassett cites Frederick Winterbotham, The Nazi Connection, p. 164 (London 1978). But Winterbotham’s book seems to have nothing about the Winter War. Finland is not even in the index.

    Basset also cites Winterbotham for a claim that Luftwaffe General Milch visited the Royal Air Force in Britain before the war. However, none of the pages of Winterbotham’s book which mention Milch say this.

  • Dan Raviv and Yossi Melman [2012]:  Spies Against Armageddon:  Inside Israel’s Secret Wars. Levant Books.
  • Milton Bearden and James Risen [2004]: The Main Enemy:  The Insider Story of the CIA’s Final Showdown with the KGB.  Presidio Press.
  • Natalie Dykstra [2012]:  Clover Adams:  A Gilded and Heartbreaking Life.  Houghton Mifflin Harcourt.   An intelligent and sympathetic life of Marian (“Clover”) Hooper Adams (1843-1885), pioneer of art photography, wife of Henry Adams, and a daughter of transcendentalist poet, Ellen Sturgis Hooper.   She was a friend and muse to Henry James, and a distant relative of the step-family of George Santayana.
  • Archie Brown [2010]:  The Rise and Fall of Communism.  Vintage.
  • James Douglass [2008]:   JFK and the Unspeakable:  Why he Died and Why it Matters. Maryknoll, New York: Orbis Books.
  • Sidney Ploss [2009]:  The Roots of Perestroika:  The Soviet Breakdown in Historical Context. McFarland and Company.
  • David Maraniss [2012]:  Barack Obama:  The Story.  Simon and Schuster.
  • Ben MacIntyre [2012]: Double Cross:  The True Story of the D-Day Spies.  London: Bloomsbury. Reviewed here.
  • Colin Eatock [2009]: Mendelssohn and Victorian England.  London: Ashgate.  A detailed and comprehensive account of Mendelssohn’s visits to England (and his one visit to Scotland), and his activities, musical and other, while there.
  • George Dyson [2012]:  Turing’s Cathedral:  The Origins of the Digital Universe.  Allen Lane.   A fascinating account of the involvement of the Institute of Advanced Studies (IAS) in Princeton, NJ, in the early development of scientific computing, led by that larger-than-life character, Johnnie von Neumann.
  • Gordon Brook-Shepherd [1988]: The Storm Birds:  Soviet Post-War Defectors.  Weidenfeld & Nicolson.
  • Neil Sheehan [2010]:  A Fiery Peace in a Cold War:  Bernard Schriever and the Ultimate Weapon. Vintage Books.  A fascinating history of the US inter-continental ballistic missile program in the 1950s, told through a biography of one of its parents, USAF General Bennie Schriever.    It is easy to forget how much practical expertise was needed for successful missile and satellite launches, as with any new and complex technology.   As a consequence, we forget how few of the early test launch attempts were successful.  The Vanguard 3 rocket, for example, launched just 3 satellites out of 11 attempts between December 1957 and September 1959. (Vanguard was a USN project.)

Shadows

Writer Pico Iyer tells of his life being shadowed by – followed and pre-figured by the spirit of – Graham Greene, here. I’m no fan of Greene’s writing, but the shadowing I can appreciate. Many writers have spoken of similar shadowing and even possession – William Burroughs, Patricia Highsmith, Hilary Mantel, Antonio Tabucchi, for instance. Highsmith’s Ripley, she came to feel, was a real spiritual presence, existent outside her books and her imagination.

Faded colored notebooks

The Grauniad celebrates a half-century of Doris Lessing’s The Golden Notebook by asking various writers what they think of it.  The book is appalling, and one hopes will be forgotten before another half-century elapses.  In her earlier novels and subsequently, Lessing is one of the best writers in English of any century – gripping narratives, superbly-judged choices of words, inviting and compelling voices, and a sharp observational intelligence.    The Golden Notebook, however, is our Doris off her game.  Self-indulgent, overly-long, poorly-structured, apparently unedited, it is a mis-mash of different stuff that looks as if it were put down once in a hurry and then, it seems,  never re-read.  To this reader, the book appears as some random ideas for a novel, or perhaps several, which were never reworked coherently:   Clip some jottings together, put a cover on them, and call it post-modern –  that should work.   If art really is the doing of all things with artlessness, as Piet Hein once said*, then this book lacks even an attempt to be artful, as if the author was taking the michael, or worse.
 
* FOOTNOTE:

There is but one art,
No more, no less:
To do all things
With artlessness.

Visitations to a writer

Recently-deceased Italian writer Antonio Tabucchi, author of that subtle novel of political intrigue under totalitarianism, Pereira Maintains, writes about the visitation he received which inspired the novel, here.  How sad that the name of the brave Portuguese journalist whose death inspired the novel should be unmentioned by Tabucchi.

Dr Pereira visited me for the first time one September evening in 1992. In those days his name wasn’t yet Pereira. He still didn’t have distinct traits, he was rather vague, elusive, hazy, but he already nurtured the wish to be a protagonist in a book. He was only a character in search of an author. I don’t know why he chose me to tell his story. One possible hypothesis is that the month before, on a torrid August day in Lisbon, I too had made a visit.
I vividly remember that day. In the morning I bought the city’s daily newspaper and read an article about an old journalist who had died at the Santa Maria Hospital and whose remains lay in state at the hospital chapel. I shall discreetly avoid any mention of the deceased’s name. I shall say only that he was someone with whom I had a passing acquaintance in Paris, in the late 1960s, when he, a Portuguese exile, was writing for a Parisian newspaper. He was a man who had plied his journalistic trade in Portugal during the 1940s and 50s under Salazar’s dictatorship. And he had managed to ridicule the regime by publishing a savage article in a Portuguese newspaper. He naturally encountered serious problems with the police and was subsequently forced to choose exile.
I knew that after 1974, when Portugal returned to democracy, he went back to his country, but I didn’t meet him again. He wasn’t writing any more, he had retired, and I didn’t know what he was doing for a living. Sad to say, he had been forgotten. In that period Portugal lived the restless, convulsive life of a country that had rediscovered democracy after 50 years of dictatorship. It was a young country, led by young people. No one remembered an old journalist who had resolutely opposed Salazar’s dictatorship in the late 40s.
I went to view the remains at two in the afternoon. The chapel was deserted. The coffin was uncovered. The gentleman was Catholic, and they had placed a wooden crucifix on his chest. I stood beside him for nearly 10 minutes. He was robust or, rather, fat. When I knew him in Paris, he was about 50, svelte and agile. Old age, perhaps a hard life, had turned him into a fat, flabby old man.
At the foot of the coffin, on a small lectern, lay a register open to receive the signatures of visitors. A few names had been written there, but none I recognised. Perhaps they were old colleagues, people who lived through the same battles, retired journalists.
A month later Pereira paid his visit to me. I didn’t know what to say to him then and there. And yet I dimly understood that his vague self-presentation as a literary character was symbolic, metaphoric: somehow he was the ghostly transposition of the old journalist to whom I bid my last farewell. I felt embarrassed, but I warmly welcomed him.
That September evening I divined that a spirit drifting in the ether needed me to tell his story, to describe a choice, a torment, a life. In that privileged space which precedes the moment of falling asleep – and which I find most suitable for receiving visits from my characters – I told him to come back, to confide in me, to tell me his story.
He came back, and I immediately found a name for him: Pereira. In Portuguese “Pereira” means “pear tree”, and like all the names for fruit trees, it is a surname of Hebrew origin, just as in Italy the surnames of Hebrew origin are the names of cities. With this name I wanted to pay homage to a people who had left a great imprint on Portuguese culture and suffered the injustices of history. But there was another reason, literary in origin, which led me to this name: a brief interlude by TS Eliot entitled “What About Pereira?” in which a fragmentary conversation between two friends evokes a mysterious Portuguese man named Pereira, about whom nothing can ever be known.
About my Pereira, however, I began to know many things. In his nocturnal visits he told me that he was a widower who suffered from heart disease and unhappiness. He loved French literature, especially Catholic writers between the wars, such as François Mauriac and Georges Bernanos. He was obsessed with the idea of death. His closest confidant was a Franciscan named Father Antonio, to whom he shuddered to confess his heresy: he didn’t believe in the resurrection of the body.
Later Pereira’s confessions, joined to my writerly imagination, produced the rest. Through Pereira I located a crucial month in his life, a torrid month, August of 1938. I recalled Europe on the brink of disaster, the second world war, the Spanish civil war, the tragedies of our recent past. And in the summer of 1993, when Pereira – who had now become my old friend – told me his story, I was able to write it. I wrote it at Vecchiano, in two equally torrid months of furiously intense work.
By a lucky coincidence, I finished writing the last page on the 25 August. I wanted to record that date on the page because it is an important day for me: my daughter’s birthday. I felt it was a sign, an omen. The happy day of my child’s birth also gave birth – thanks to the effort of writing – to the story of a man’s life. Perhaps, in the inscrutable weave of events that the gods bestow on us, everything has its meaning.”
• Antonio Tabucchi died on 25 March 2012. This article about the writing of Pereira Maintains (Canongate) was translated by Lawrence Venuti.

On Monty

Montgomery Clift is one of the silver screen’s greatest actors.  I have written before about his intensely-naturalistic speaking style, with its pauses and false starts and mid-sentence hesitations and apparently improvised modifications on-the-fly.    To speak as he did, in so many films, showed that this speaking style was probably not an artefact of all the screenwriters involved, especially when so few other actors in these or other films of the time spoke like that, but instead evidence of his own great intelligence and superb ear for speech.

Amy Lawrence has now written a fascinating book on his screen acting across his career, analyzing in detail what he did and how, and how he achieved his effects.  By studying his own, hand-annotated personal copies of film scripts, for example, she is able to identify his particular contributions to the scripts and the dialogue of the films he acted in, and is able to demonstrate the artistry and diligence behind his naturalistic speech.   And to show it, in many cases, as his personal artistry, as he worked to revise and rewrite dialog that was often originally stilted or unnatural.

By careful exegesis, Lawrence is also able to debunk some myths.   Clift’s shambling, addled performance as a courtroom witness in the late Judgment at Nuremberg (1961), for example, is usually presented as evidence of the drug and alcohol addictions he is supposed to have succumbed to following his near-fatal car accident in May 1956.  This accident destroyed his face and left him in pain, and led him to taking pain-killers and to drinking.   But, as Lawrence demonstrates, his court-room appearance in the 1961 film shows many of the same personal characteristics and mannerisms of his court-room appearance in A Place in the Sun, filmed in 1951 – “tightening his fists, flexing his fingers, pushing against the armrests with his elbows” [Lawrence, p. 212].   Clearly, the origin of Clift’s witness-box performance is not drugs, but acting chops.  Speaking of the character played by Clift in Nuremberg, she says:

Peterson’s gestures are emphatic, not neurotic, but combined with his broken syntax and repetition of sentence fragments, Clift clearly suggests in his performance that the character is not in control of himself.  But the actor is.  When we see the recurrence of these gestures across time and roles, before and after the accident, it seems reasonable to call them choices characteristic of the performer.  Clift is not a mess; he plays one.” [Lawrence, p. 213]

Lawrence also notices how Clift, throughout his career, often acts with his back to the camera, either fully or partially.  These episodes usually signal that he is engaged in some intense, interior, psychological reaction to some event or person, as if he could better tell us what he is thinking by not showing us his face.   That he would even try to do something so counter-intuitive, let alone that he usually succeeds, demonstrates the great actor Clift was.

I had only one, very small quibble with Lawrence’s book.  She describes (on page 63) the scene in The Big Lift (1950) when Clift’s character, about to receive an award for helping in the Berlin airlift, turns and sees for the first time that the official award-giver is a beautiful woman.   Lawrence does not describe Clift’s eyes as he suddenly sees this woman:  his pupils dilate widely as an expression of his character’s plain delight. We know of course, that the actor Clift must have practiced and rehearsed this dilation until he could undertake it at will.   But knowing this fact increases our admiration for his acting skills, since it shows the dedication and diligence he brought to the task.

Clift’s acting art was artless, and like all artlessness, took immense preparation, intelligence, practice, and persistence to achieve.

Reference:

Amy Lawrence [2010]: The Passion of Montgomery Clift. Berkeley, CA, USA:  University of California Press.

The writing on the wall

Over at Normblog, Norm tells us that he wants his books and not merely the words they contain.   We’ve discussed this human passion before:  books, unlike e-readers, are postcards from our past-self to our future-self, tangible souvenirs of the emotions we had when we first read them.   For that very reason – that they transport us through time – books aren’t going anywhere.  It’s a very rare technology indeed that completely eliminates all its predecessors, since every technology has something unique it provides to some users or other.   We could ask, for example, why we still carve words onto stone and why we still engrave names onto rings and pewter mugs for special occasions, when the invention of printing should have done away with those earlier text-delivery platforms, more expensive and less portable than books and paper?

Recent reading 4: Achtundsechziger


While elements of the left turned to revolutionary violence in most countries of the West at the end of the 1960s, three countries experienced this turn to a much greater extent than any other:  Germany, Italy, and Japan.  This fact has always intrigued me.   Why these three?     What facts of history or culture link the three?  All three endured fascist totalitarian regimes before WW II, but so too did, say, Poland, Hungary, Greece, Portugal, and Spain.  The countries of Eastern Europe, however, met the 1960s still under the Soviet imperium, and so opportunities for violent resistance were few, and in any case were unlikely to come from the left.   Spain and Portugal and, for a time, Greece, were still under fascism in the post-war period, so opposition tended to aim at enlarging democracy, not at violent resistance.   Perhaps that history is a partial explanation, with (some of) the first post-war generation, the 68ers (in German, achtundsechziger) seeking by their armed resistance to absolve their shame at the perceived lack of resistance to fascism of their parents’ generation.  Certainly the writings of the Red Army Fraction (RAF), the Red Brigades, and the Japanese Red Army give this as a justification for their turn to violence.
I have always thought that another causal factor in common between these three countries was the absence of alternating left and right governments.  With a succession of right-wing and centre-right regimes in Italy and Japan, and right-wing and grand-coalition (right-and-left-together) regimes in Germany, how were views in favour of socialist change able to be represented and heard?  Indeed, in the German Federal Republic, the communist party had been declared illegal in 1956, and remained so until its reformation (under a new name) until 1968.   And even the USA may not be an exception to this heuristic:  In 1968, the candidate of the major party of the left, Hubert Humphrey, was a protagonist for the war in Vietnam (at least in public, and during the election campaign).  And while the candidate of the major party of the right, Richard Nixon, had promised during the campaign to end the war, once in office he intensified and extended it.   For anyone opposed to the war in Vietnam, the democratic political system appeared to have failed;  indeed, one of those who had most publicly opposed the war, Robert Kennedy, had been assassinated. It is interesting in this regard to note that the Weather Underground only adopted armed resistance as a strategy in December 1969, a year after Nixon’s election.   In Chantal Mouffe’s agonistic pluralism view of democracy, a key role of political argument and verbal conflict is to bring everyone into the political tent.  If some voices, or some views, are excluded by definition or silenced by assassination, we should not then be surprised that those excluded try to burn down the tent.
And perhaps because I like the idea of acting according to (an empirically-grounded) theory of history, I always found the primary argument of the RAF very intriguing:  That by engaging in armed resistance to the capitalist state, the revolutionary left would force the state to reveal its essential fascist character, and that this revelation would awaken the consciousness of the proletariat, leading to the revolutionary overthrow of the state. Although intrigued by it, I never found this argument quite compelling:  First, it could be argued that a democratic state only has a fascist character in response to, and to the extent of, armed resistance to it.  So predictions of its fascist tendencies become self-fulfilling.   Second, the history of countries ruled by fascism in the 20th century surely shows that life under totalitarian rule makes organizing and engaging in dissident activities, particularly group-oriented dissident activities, less not more feasible.     Third, I believe strongly that not only do ends not usually justify means, but often means vitiate ends.     This is the case here:  suppose the violent left’s violent resistance had indeed worked in overthrowing the governments they were directed at.  What sort of society would have resulted?   What we know of the personalities of Andreas Baader and Ulrike Meinhof and their revolutionary colleagues leads me to think that a Cambodia under the Khmer Rouges, rather than a Sweden under Olof Palme, would be a more likely description for life in a West Germany led by the RAF.  Thank our stars they failed.
These thoughts are provoked by some recent reading on the subject of leftist urban terrorism in the West, both fiction and non-fiction.  The fiction concerns the psychology and consequences of life underground, long after any thrill of plotting and executing armed resistance has passed.
First,  a novel about the Angry Brigade (AB), the lite, British version of the Red Army Fraction:  Hari Kunzru’s “My Revolutions”.   This is a gripping first-person account by someone who had participated in AB actions, and now, 30 years later, is living under an assumed name.  His past comes back to him, through some not-fully-explained, but dirty, tricks that British intelligence agencies seem to be running.  These dirty actions are (or rather, appear to be) targeted against those who were on the edges of the violent left, but not part of it, who have now risen to prominence in Government (Joschka Fischer comes to mind), and the narrator is used by the shadowy intelligence forces to blackmail or destroy the career of the target of the action.  The writing is fluent and plausible, and the tale engrossing.  Only occasionally does Kunzru trip:  Who ever uses “recurrent” (page 4) in ordinary speech?  (Some people may say “recurring”.)    Precisely how does the sun beat down like a drummer? (page 10).   But most of the novel reads as the words of the protagonist, and not the words of the novelist, indicating that a realistic character has been created by the author’s words.
The same cannot be said for Dana Spiotta’s “Eat the Document”.   Although this book too is riveting, it is not nearly as well-written as Kunzru’s book.   The story also concerns the later after-life of some formerly violent leftists, presumably once members of the Weather Underground, now living in hiding in the USA, incognito.   The story is told through the purported words of multiple narrators, a technique which enables the events to be described from diverse and interesting perspectives.  I say “purported” because too often the words and tone of different narrators sound the same.  In addition, often a narrator uses expressions which seem quite implausible for that particular narrator, as when the teenage boy Jason speaks of “recondite” personalities in suburbia (page 74):  these are not Jason’s words but those of the author.
These works of fiction are partly engrossing to me because I once unwittingly knew a former violent leftist on the lam – the Symbionese Liberation Army’s James Kilgore,  whom I knew as John Pape.  I wish I could say I’d always suspected him, but that is not the case.  Indeed, if anything, I suspected him of being a secret religious believer.  He was serious, always intense, and softly-spoken, and ideologically pure to the point of having no sense of humour. The Struggle was all, and life seemed to be all gravitas, with no levitas (at least in my interactions with him.  I have no idea how much of this serious demeanor  is or was his true self.)  Adopting a position as a committed revolutionary is certainly an interesting strategy for a cover;  one does not expect underground weathermen to be regular attenders at Trotskyist reading circles, but Pape was.  (And he did the homework!) But perhaps someone with a sense of humour does not join a movement of revolutionary violence in the first place, at least not in a democracy.
In the non-fiction category is Susan Braudy’s history of the Boudin family, one of whose members, Kathy Boudin, was a member of the Weather Underground.   As with Kunzru’s and Spiotta’s novels, this non-fictional account is also riveting.   It is, however, appallingly badly written. For instance, for a history, the book is very fuzzy about dates – when did Jean Boudin die, for example?  And much of the text reads like third-hand family anecdotes, perhaps interesting or amusing to the family but not to anyone else.  (Aunty Merle always was partial to rhubarb and once asked for it in a restaurant.)    And lots of very relevant information is simply not provided, for instance the prison sentences given to Kathy Boudin’s fellow-accused in 1981.   As a history book, this is certainly a book.
Finally, a quick report on Hans Kundnani’s superb analysis of the extreme German left, Utopia or AuschwitzGermany’s 1968 Generation and the Holocaust.  Kundnani argues that there were competing strains within the violent German left in the 1960s and 1970s:  one strain engaged in struggle (against capitalist and western imperialist injustice) as a form of remedy for the failure – or at least, the perceived failure – of their parents’ generation to resist Nazism, and other strains comprising German-nationalist and, suprisingly, even anti-semitic tendencies.    The presence of such tendencies at least explains how some on the far left in the 1960s ended up on the neo-Nazi right thirty years later.  Kundnani’s book is superb – interesting, well-written, humane, engrossing, and tightly-argued.  I had only one small quibble, which is perhaps a typo or an oversight:  On page 252, Kundnani refers to German military participation in a NATO-led attack on Serbian forces on 24 March 1999 as the “first time since 1945, Germany was at war.”  Well, the Federal Republic of Germany perhaps.   The DDR sent troups to join the Warsaw Pact invasion of the Czechoslovak Socialist Republic in August 1968.   If I was a former citizen of the DDR, regardless of my opposition to that invasion, I would be annoyed that my nation’s history seems to have been forgotten by people writing after unification on German history.
UPDATE (2010-08-25): My remark about participation by the DDR military in the Warsaw Pact invasion of the CSSR in 1968 is wrong.   The forces of the DDR were, at the last moment, stayed, as I explain here.    Thanks to Hans Kundnani for correcting me on this (see comment below).
References:
Bill Ayers [2001]:  Fugitive Days:  A Memoir. Boston, MA, USA:  Beacon Press.
Dan Berger [2006]:  Outlaws of America: The Weather Underground and the Politics of Solidarity. Oakland, CA, USA:  AK Press.
Susan Braudy [2003]:  Family Circle:  The Boudins and the Aristocracy of the Left. New York, NY, USA;  Anchor Books.
Uli Edel [Director, 2008]: Der Baader-Meinhof Komplex.  Germany.
Ron Jacob [1997]: The Way the Wind Blew:  A History of the Weather Underground. London, UK:  Verso.
Hans Kundnani[2009]:  Utopia or Auschwitz:  Germany’s 1968 Generation and the Holocaust. London, UK:  Hurst and Company.
Hari Kunzru[2007]:  My Revolutions.  London, UK:  Penguin.
Chantal Mouffe[1993]: The Return of the Political.  London, UK: Verso.
Dana Spiotta[2006]:  Eat the Document.  New York: Scribner/London, UK: Picador.
Tom Vague [1988/2005]:  The Red Army Faction Story 1963-1993.  San Francisco:  AK Press.
Jeremy Varon [2004]:  Bringing the War Home:  The Weather Underground, the Red Army Faction, and Revolutionary Violence in the Sixties and Seventies. Berkeley, CA, USA:  University of California Press.
Some previous thoughts on beating terrorism here.  Past entries in the Recent Reading series are here.

Concat 3: On writing

For procrastinators among you writing the Great American Novel, here are some links with advice on writing:

  • Hilary Mantel [2010]:  The joys of stationeryThe Guardian, 2010-03-06. On why writers need to keep loose-leaf notebooks.  An excerpt:

That said, le vrai moleskine and its mythology irritate me. Chatwin, Hemingway: has the earth ever held two greater posers? The magic has surely gone out of the little black tablet now that you can buy it everywhere, and in pastel pink, and even get it from Amazon – if they believe your address exists. The trouble with the Moleskine is that you can’t easily pick it apart. This may have its advantages for glamorous itinerants, who tend to be of careless habit and do not have my access to self-assembly beech and maple-effect storage solutions – though, as some cabinets run on castors, I don’t see what stopped them filing as they travelled. But surely the whole point of a notebook is to pull it apart, and distribute pieces among your various projects? There is a serious issue here. Perforation is vital – more vital than vodka, more essential to a novel’s success than a spellchecker and an agent.
I often sense the disappointment when trusting beginners ask me how to go about it, and I tell them it’s all about ring binders.”

  • Rachel Cusk [2010]: Can creative writing ever be taught? The Guardian, 2010-01-30.  A moving discussion on teaching creative writing, and the relationship between writing  and therapy.

Honest criticism, I suppose, has its place. But honest writing is infinitely more valuable.
At the start of last term, I asked my students a question: “How did you become the person you are?” They answered in turn, long answers of such startling candour that the ­photographer who had come in to take a couple of quick pictures for the ­university magazine ended up staying for the whole session, mesmerised. I had asked them to write down three or four words before they spoke, each word indicating a formative aspect of experience, and to tell me what the words were. They were mostly simple words, such as “father” and “school” and “Catherine”. To me they represented a regression to the first encounter with language; they represented a chance to reconfigure the link between the mellifluity of self and the concreteness of utterance. It felt as though this was a good thing for even the most accomplished writer to do. Were the students learning anything? I suppose not exactly. I’d prefer to think of it as relearning. Relearning how to write; remembering how.