Tag: literary life

History of the Rain, by Niall Williams

This 2014 work is an unusual novel, almost not a novel, just a searching portrait, though one beautifully crafted. But then it introduces its story, the story of the Swain family, and turns itself into a still unique but marvelous novel, marvelous because, not least, it makes a beautiful connection between life and literature.

“We are our stories,” the books narrator Ruth Swain announces at the beginning. “We tell them to stay alive or keep alive those who only now live in the telling.” Ruth is a bedridden teenager trying to bring her father back to life through his books. And she refers to many of his 3,958 books as she does this. “I’ve read all the usuals, Austen, Bronte, Eliot, Hardy, but Dickens is like this different country where the people are brighter, more vivid, more comic, more tragic, and in their company you feel the world is richer, more fantastic than you imagined. But right now I’m reading RLS. He’s my new favorite. I like writers who were sick.” And Robert Louis Stevenson was, like her, an invalid.

Faha, the town in Ireland where Ruth lives, lies on the banks of the Shannon, another character in her story—not least because it is a source of salmon. And fishing, a pastime of her grandfather, was passed on to her through her father, Virgil Swain. Indeed, with her memory of her father highlighted by his effort to be a poet, she suggests a poem created is like a fish caught. “A poem is a precarious thing,” she writes, “It is almost never landed clean and whole in one go. Virgil had a phrase, one bite, that’s all. But he wouldn’t let it go, and as poetry is basically where seeing meets sound, he said the phrase aloud…and found in repetition was solace of a kind.”

But before telling that story, she must tell how her English family moved to Ireland, about the town of Faha, the life of a farming community, the details of the house they lived in, and then about Virgil’s courtship of her mother Mary, and the birth of herself and her twin brother Aeney. And, finally, about the Swain family curse, the Philosophy of Impossible Standard, that one must always strive for perfection, even if it will never be attained.

We are now at the halfway point of the novel—and nothing has happened. There is no story. All is past. All is mood. And not just a literary mood, but the long Irish failure through history, the Swain family failures, and now the failure of Virgil to cultivate his farm, with its rocky terrain, and the constant rain that blocks out an invigorating sun. And yet, the reader perseveres, because the telling, the language, has been beautiful. And as Ruth finally warns us: “This, Dear Reader, is a river narrative. My chosen style is The Meander.” And later: “I’m not writing a book, I’m writing a river.”

We persevere because we are entertained by Ruth’s astringent style, such as describing her grandfather’s marital status in Ireland. He has sired three daughters, and not yet his son Virgil, and has becomes bitter toward his wife. “But in those days once you were wedded you were in Holy Deadlock, and in Ireland the priests had decided that once a man entered a woman there was No Way Out. The vagina was this deadly mysterious wrestler that could get you in a headlock, well, metaphorically-speaking, and then, boys, you were rightly stuck. That Will Teach You, was Number One sermon at the time. Number Two was Offer It Up.”

What Ruth believes in, and author Williams believes in, is books and literature. This novel is filled with the books that Virgil has bought and read, and that his daughter Ruth wishes to read to understand him—and to recreate him for us. This dedication becomes truly real when she refers to the title, edition, and publisher of each book she cites. But more significant is that she recalls certain passages that apply to her own life or to that of her family.

Thus, she felt a humming when her father read to her. “He just made this low thrum. John Banville would know the word for it, I don’t. I only know the feeling, and that was comforting. I lay in his lap and he read and we sailed off elsewhere. Dad and I went up the Mississippi, to Yoknapatawpha County, through the thick yellow fog that hung over the Thames or in through those dense steamy banana plantations all the way to Macondo.”

But there are tart references also. Following “Amen to him,” on the death of a despised ancestor, she suggests a counter-balancing “Awomen.” Or: “Look at Edith Wharton, she’s Henry James in a dress.” And then there are human insights, like when Virgil returns from his honeymoon to move in with his wife’s family: “Dad moved in with the baffled deepsea shyness of a character just arriving in a story already underway.” Or: “In a single moment the two of them shared a look that said those things in silent mother-daughter language, that would take a hundred books and more years to tell.” Or: “We tell stories to heal the pain of living.” And: “The fact is grief doesn’t know we invented time. Grief has its own tide and comes and goes in waves.”

These final lines come toward the end, when Ruth concentrates on Virgil, whose passion for reading has led him to pursuing poetry. But he is up against the Impossible Standard. Will he break the family curse, and allow himself to succeed? The final pages become truly beautiful, as Ruth imagines her father alive in the afterlife of her own book, this story she is telling.

“If I’m alive this is my book, and my father lives now in the afterlife that is a book….And my book will be a river…and be called History of the Rain, so that his book did not and does not perish, and you will know my book exists because of him…You will know that I have found him in his books, in the covers his hands held, in the pages they turned, in the paper and the print, but also in the worlds those books contained, where now I have been and you have too. You will know the story goes from the past to the present and into the future, and like a river flows.”

They cannot avoid the river Shannon that flows along the banks of the Swain’s farm, nor the rain that falls continually in Ireland. From clouds to rain to the river and back into the clouds. It is a natural cycle, not unlike the literary cycle from life to books to reading and then back to another’s life. Or: from life to death to eternity, and then back to living again through one’s books that survive. Ruth herself suggests this when she writes of “a river flowing ever onward between writers,” as she seeks to recreate her father’s life in order to understand him, and then present him to us. (August, 2017)

My Life as a Fake, by Peter Carey

This 2003 work begins as a fascinating tale, and then becomes a confusing one. Because it has narrators within narrators, and then stories within stories within stories—and compounds this by skipping about among different time frames, from World War II on. It begins as a tale in modern times narrated by a poetry magazine editor named Sarah. She is lured to Malaysia by a family friend, John Slater, whom she despises because of his pretense as a poet and because she thinks he was involved in the death of her mother. So one expects the novel to be driven by that relationship.

But this is Peter Carey, who loves devious plotting. In Malaysia, Sarah encounters Christopher Chubb, an Australian poet who in the past has fabricated a hoax by creating an elaborate, pretentious poem by a man named McCorkle. This poem is published in an Australian poetry magazine, but when the hoax is revealed, Weiss, the magazine editor, is tried for obscenity and later mysteriously dies.

This is the set-up, and we later learn that the plot is based on a real episode in Australian literary history. And it is here, one-third into the novel, that the complications begin. Chubb shows Sarah a page from a new work of poetry by McCorkle, and she is intent on getting the full manuscript for her magazine, not initially sure if it has been written by Chubb or by McCorkle. Ah, the complexity that Carey loves. For McCorkle turns out to be real, a huge person, and he has meanwhile kidnapped Chubb’s daughter, apparently in revenge for the hoax, and taken her off into the jungle. This is the daughter of an ambitious beautiful woman, Nousette, an artist and photographer who befriends both Chubb and Slater, and fathers a daughter by one of them, a daughter she gives up to Chubb and so he assumes is his.

Whereupon Chubb pursues McCorkle to repossess his daughter, but on finding them his daughter initially rejects him. In the jungle, however, this McCorkle has produced a marvelous journal of poetry that impresses Chubb, and when he returns he teasingly offers it to Sarah. Thus the confusing time frames, and this is when my real confusion began.

Is the McCorkle who first shows up at the Weiss trial this real person in the jungle? How did he become a writer? Is this a bit of magic realism? Or is he not real, still the figment of Chubb’s imagination? For example, when McCorkle steals the baby daughter, he says that Chubb never gave him a childhood, and that there are consequences to creating him, McCorkle. Which development is reflected in the Mary Shelley Frankenstein quotation at the start of the novel: “the miserable monster whom I had created.”

In any event, Chubb pursues them into the jungle to recover his daughter. Of course, we know this pursuit only through Chubb’s narration to Sarah, and these events are scattered through the novel. In any event, we ask ourselves, how much is really true? And then, when Chubb discovers this unknown marvelous work in the jungle, we wonder if McCorkle is really the writer. The McCorkle created by Chubb. And, finally, there are the two women Chubb is living with in the more recent world, one a scarred Chinese woman, while the other turns out to be the beautiful grown-up daughter, Tina—both of whom will be present at the violent end.

Indeed, I had to skim this novel again to understand the ending, to realize the love of these two women for McCorkle rather than Chubb, and their identification with the volume of poetry that McCorkle has produced in the jungle and they have brought back to the capital. It is actually a simple tale, but it has been made quite complex by the telling. Which many an author uses to create interest and suspense in a simple tale. Except, here, it has been too complex an approach for me, and the tale a too simple one of literary deceit.

That is, this is another tale that explores what is real and what is not real. Except, it is the not real, the poetry, the literary work, that is being explored for its reality. It also explores truth and lies, not just the hoax, but the plot as well. And it explores justice, as well, in the fate of Chubb, McCorkle, and the Australian poetry editor Weiss.

Plus, many of the characters are just pretending as they deal with each other. Slater is pretending to Sarah to get her to Malaysia. We later learn that Sarah’s father pretended to Sara about the death of her mother. (And that her father pretended not to be a homosexual, as Sarah has done as well.) And now in Malaysia, Sarah is pretending to Chubb in order to get the hidden manuscript, while Chubb is initially pretending to Sarah that he has access to it. McCorkle is pretending also, for he calls his hidden work My Life as a Fake. Even author Carey is pretending that he is writing a thriller when he is really writing about hoaxes and the prevalence of pretending in the literary world.

This has not been a satisfying novel, but its provocative situation has prompted me to read it to find out what is going on. And the pace is certainly there, and the revelations, to draw the reader on. Further Carey is not a must, but a provocative situation like this could well draw me into future work, as they have done in the past, such as with Oscar and Maggs. (March, 2016)