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Tuesday, August 25, 2015

In Memorium

The recent passing of James Salter saddened me, especially since I have been so lazy in getting around to reading his fiction. He spent his entire adult life writing from his heart and I have taken far too long getting around to reading it.  I’d read only two of his novels to date.

Light Years is perhaps his most renowned work, and rightly so.  Salter is a writer’s writer.  I don’t think I’ve read better writing anywhere, anytime.  I’m not sure it all adds up a great book, but paragraph after paragraph are simply stunning.

A master
You can pick just about any passage, but here’s one chosen at random from near the end of the novel.  It’s about the main male character, late in life, alone on a cruise to Europe:

Viri dined at the second sitting. He had a drink at the bar, where people entered with cries of greeting to the bartender. In the corridor were women of fifty, dressed for dinner, their cheeks rouged. Two of them sat near him. While one talked, the other ate long, triangular bread and butter pieces, tow bites to each. He read the menu and a poem of Verlaine’s on the back. The consommé arrived. It was nine-thirty. He was sailing to Europe. Beneath him as he lifted his spoon, fish were gliding black as ice in a midnight sea. The keel crossed over them like a comb of thunder.

And Salter writes about sex better than anyone I’ve read.  In this book the writing is not especially explicit (as it is in A Sport and A Pastime) , but he gets to the crucial point, every time.  He understands the significance and manages to communicate the essence.  I’ve never read anyone quite like that.

The story is a straightforward one about the history of a couple, from young adulthood to old age.  Salter maintains a very objective point of view.  We don’t see much drama first-hand.  Instead, we get a view from elsewhere, observation after the fact, and much reflection.  The result can feel detached, and that’s the main downside of his writing.  We don’t so much feel the experience as the ripples and consequences of the experience. We are left knowing we have witnessed lives honestly led.

I don’t know how else to say it.  The writing is phenomenal.  It’s a tour de force.  The writing itself almost overwhelms the book.  As when you read poetry, just savor every moment.  You hold in your hand a finely chiseled piece of art.  Enjoy each moment.


So sad that he is gone.

Freud Revisited?

Kazuo Ishiguro has for me been a master of mood, setting, and atmosphere.  The Remains of the Day is one of my all-time favorite books, and Never Let Me Go is a stunning achievement.  As I read the press releases and reviews I was a little skeptical about his latest novel, TheBuried Giant.  But it’s Ishiguro.  Gotta go there.

The underlying themes are compelling.  Memory (its reliability or lack thereof), the need to forget, the central importance of love, the eventual emergence of truth.  All of these are fascinating and worthy of exploration.  But the tone, the plot, the vehicle Ishiguro chose to carry those thoughts didn’t work so well for me.  It all seemed a bit like a cheap Prince Valiant story, something not for serious consideration.  The end moved me deeply, but along the way I was annoyed that it took so long in the book to know what it’s really about.  That comes back to my lack of enthusiasm for the medium, for the story, the time, the characters.  It just didn’t mesmerize me the way Ishiguro has in other novels.

To spin a yarn like this one just about every aspect of the thread has to be interesting and compelling, and I just didn’t find it so.  Perhaps it’s a book that demands a second read to see how the themes are actually carefully woven in from the first page.  But I don’t have the patience to wade through all of the scenery and plot again.  At least not right now.

In a way the book is a metaphor for psychoanalysis, a process designed to recover accurate memory, see the past more usefully and allow us to move forward without the unnecessary constraints of experience. But it also has to provide page to page interest as a narrative, and there I was disappointed.