An irregular, irreverent, post-modern account of the surreal, the ordinary, and the bizarre happenings on and around the Felia lavender farm in Crete

Wednesday, February 04, 2009

GAG reflux - competition done

One of the reasons that it's been quiet here (maybe not the chief reason but one of them) is because I have been taking part in an online novel competition over at the Telegraph. Well it's done now. I posted the last episodes today and while I'm not over the moon about the result, it was worth doing. I stayed within all of my self set constraints and, of course, meets all of the competition requirements. It comes out at about 20,000 words and I have already started thinking about how to make it available as an e-book using Sophie. I'll let you all know when it's ready in that format but for now I'm posting a list of relevant links in the order in which episodes were posted. Be aware that there are hyperlinks out from some of these episodes - follow whichever ones take your fancy (or none at all - or all of them - it's up to you). Enjoy

Opening Gambit

Next Moves

Third Part

Uncoverings


Super5

Balcony Xania Harbour

The Makeshift Morgue

Good and Gone

Unravelling and Ravelling


Calling...calling...calling...


Flies

Happy Like Killers

Blood Insect

Found and Lost

Unveiling

Ceramic Beheading

Job Jobbed

Monday, January 26, 2009

Book Review: Moon Palace by Paul Auster

Moon Palace is novel of searching. When we discover that our hero's name is Marco Stanley Fogg the signpost is well and truly planted. Marco Polo, Henry Morton Stanley and Phileas Fogg could hardly be associated with much else. When we then discover that he refers to himself as MS we get the secondary reference: man as an unfinished book - writing himself as he goes. Now, given that M S Fogg is an orphan it is quite clear that we shall be having a story of a man seeking his father and his identity that will feature book quite heavily - Auster likes his heres literary where possible. And so it goes. Auster's twist here is that he finds not only his father but his father's lost father too. Auster is in love with the list of three and the trilogy as an idea so the fact that we end up with the father, the son, and the grandfather is no surprise. Auster takes us and his hero through adventures with books, adventures in the wild west, and adventures with his father to arrive at M S Fogg finding himself having lost his antecedents.

Paul Auster is a very good writer. I was going to refer in this review to two previous reviews that I have written of his works: New York Trilogy and Oracle Nights but it transpires that while I wrote the reviews (in my head - which is where my composition actually happens) I have never written them down or should that be written them out, or published them. Which is a shame but not a disaster. To summarise I loved New York Trilogy which is a trio of novellas and I felt that Oracle Nights while good would have been better as a set of novellas. The same criticism, if it is a criticism applies to Moon Palace. It is essentially three novellas telling what is essentially the same story. After 90 pages or so I felt that the point was made and the text complete. I could see the joins where Auster has glued the three stories "together" into a "novel" and I resented it as a a writer. I suspect that Auster's publishers encourage him to write novel length fiction when his real strength is the novella. Alternatively he has not come to terms with his own metier. By all means tell me the same tale 3 ways - I'm happy with that but don't gussy it up and tell me it's a traditional novel.

Tuesday, January 20, 2009

Oh ... Bah ... Humbug

The inauguration today of yet another american president is not an historic moment. The world has not changed. And nor will it - in any significant way.

We are told that he is to be the first black president of the US. He is not really black. He is of mixed race and as far as I can make out had he been born in his father's country and not his mother's (and Hawaii has only been in the US for two years when he was born) he could not have even run for president let alone been elected.

We are told that he is an inclusive politician but then that's what we were told about his predecessor the idiot George W Bush.

We are told that he is a new broom in the middle east despite his pledge to back Israel all the way during his campaign. He may be but do not kid yourself that he will change anything very significantly. He is just another politician made in the mould of all politicians and as such is simply the most recent mouthpiece of the forces that actually run the systems that punish us all daily.

So go on Obama prove me wrong - change the world significantly for the better. You have 4 years. If you get 8 years it means you will have failed - nobody gets a second term unless they have proven that they aren't going to do anything to damage the systems.

  

Sunday, January 11, 2009

Saturday, January 10, 2009

Book Review - The Bloomsday Dead by Adrian McKinty.

Adrian McKinty is great addition to the noir genre. This is apparently his fourth novel featuring Michael Forsythe a particularly unlikable fellow originally from Ireland but whom we find managing an hotel in Peru under the witness protection program. McKinty swiftly transport him, and us the readers, to a post-ceasefire Ireland on Bloomsday 2004 to find and recover the kidnapped daughter of an Irish American lady gang boss. So there you have the opening - fast and mobile - a great start to any book and especially a thriller.

Besides leaking more and more plot and background to us as we go along McKinty also tests our knowledge of modern Irish literature with his references to Flann O'Brien and reminds us on every page, with a subtle typographic device, of James Joyce. McKinty is knowing and knowledgeable, as is his anti-hero Forsythe, and one gets the impression that he is smiling to himself as he writes. I found myself smiling along with him.

Apart from a dreadfully contrived opening line that had me reaching for the sick bag I have only one quibble with McKinty and that has to do with the length of this novel - 50 or 60 pages shorter would have made it a much better book. He needs, in my opinion, to edit himself more harshly to get up there with the top flight.

Saturday, January 03, 2009

Book Review: Nightmare in the Street by Derek Raymond

DO NOT READ THIS BOOK UNLESS YOU ARE STUPID


Derek Raymond was a great writer. Together with Colin Wilson, Derek Raymond invented British noir.  HIs books are beyond hardboiled. He takes the reader into deep and dark territory. The Factory Series that he wrote between 1984 and 1990 will enter the worldwide canon of noir novels and I Was Dora Suarez may go down as the acme of noir.

That said, Nightmare in The Street is awful. It is not just bad - it is terrible. But ... that is not Derek Raymond's fault, the typescript for this travesty was discovered after his death and in my humble opinion it should have been immediately destroyed. It is so clearly not a finished work - probably a first draft in fact - that it cannot be counted in his ouevre. The publishers do not even appear to have employed an editor familiar with his style. This text is so rough, so unpolished, so unpared that it is an insult to his memory and talent and a cynical moneymaking con on his readers. 



Read any other Derek Raymond novel but do not read this.

Monday, December 29, 2008

I told you I might

Today's efforts - and context (click on the photos for large versions)

Wordplay

This xmas I asked for and received (tip of the hat to Charlie and Frank) a set of 40 lower case magnetic letters. I had spotted these on Lindz's (one of my blood daughters) amazon wishlist (a great idea from amazon the wishlist) and immediately stole it (that's what good ideas are for - theft). My idea was to fiddle around on a daily basis with this limited set of letters to create idea generators but I find myself much busier than that with them - they have become almost addictive - they cry out to me from the fridge (and the cooker hood, but more of that later) and beg to be shuffled into more or less obscure phrases - even whole sentences. The psychology of this new, self induced, behaviour probem must surely be fascinating to someone other than me? No? No pathological scrabblers out there who don't play scrabble? No wordsmiths - or should that rather be lettersmiths? The humour and the mental exercise I get is fun though I'm unsure as to whether it will last (the obsession not the fun) and frankly who cares?

Hey guy, what about the cooker hood? You said you'd get to it and you haven't - don't leave us wondering.

OK - the cooker hood is right by the fridge door and since we don't have one of those enormous american fridges the letters and phrases first cast were looking cramped and overcrowded and the base of the cooker hood started to beckon - looking surprisingly like a musical stave and offering typographic nuances so nowadays as the letter shuffle discipline devlops the cooker stave is the first line thought/product and the fridge door is the remaindered letter section.

I think I'll post photos of the game in progress on an occasional basis - maybe I'll comment on them - maybe not ... (the preceeding sentence is purposely ambiguous - it's how I feel right now) ...

 

Saturday, November 29, 2008

Book Review: A Disaffection by James Kelman

There are a number of ways to write a book review but by and large I stick to the simple, selfish formula: I write reviews in a straightforward way that I would like to read. I like to read reviews that allow me to make up my own mind about whether what's reviewed is for me or not. Mostly that suits me: I have no axe to grind - I'm just telling the reader what I thought of a book.

This time though I have an axe - I really want you to read this book - I want to share it with you - this is a great book, not just a good book but a great book. This book demonstrates what the new novel can be - should be. Kelman is a true successor to Joyce and Beckett: he is the British Sorrentino but whereas it is difficult to find Sorrentino's influence flowing through American literature Kelman's legacy is set already with writers like Agnes Owens, Roddy Doyle and Irving Welsh.

I could bore you with a list of writers who influenced Kelman directly or indirectly but that would be pointless, simply accept that Kelman did not arrive at his style from nowhere, a broad wealth of British experimentation with the novel preceded his breakthrough.  

Kelman uses dialect (Glaswegian) and vernacular throughout his prose and not just in the dialogue which is possibly difficult for anybody who has never heard a Scots accent but for those who have it is a simple matter to read tricky bits out loud to understand. HIs eye and his ear are nearly 20/20 and pitch perfect and, although there is little in the way of plot there is such a wealth of insight and nuance that one sometimes has to consciously draw breath and take pause to digest.

He has one ploy that I particularly enjoy and that is to have his protagonist form and partly answer a question (usually about himself or his trajectory) and then leave the reader to complete the response for himself or herself - in this way Kelman draws the reader into the very soul of the protagonist and by the end of this wonderful novel you have a very good understanding of the very  nature of disaffection.

Kelman is very good and this is a fine example of the modern novel - I urge you to read it.

Thursday, November 20, 2008

Lies, damned lies and, fundamental market conditions

Does anybody recall the fuss a few months back when oil prices were going up - up and up? Eventually the $100 per barrel barrier was breached and all this while the economic pundits were denying that the cause for this astronomic stupidity was occasioned by a glut of mad equity investors plunging into commodities. The news programmes were stuffed with economic experts happily telling us that the rises were inevitable given market fundamentals - that the whole thing was the fault of those middle easy potentates not producing enough of the stuff - or that is was the slanty eyed creeps in China using it all up in their rush toward affluence.

Well here we are some months later and oil dropped below $50 dollars a barrel today. So somehow either the supply and demand equation magically balanced itself out or those "experts" were telling us porkies. What do you think?


Monday, November 10, 2008

I'm sorry - I just don't understand this

We've been living here full time for 6 years now and for ten years on and off before that and we've come to terms with a great number of cultural differences but some things still shock me.

I'm constantly explaining the very different types of relationship that older generation Greeks have with their domestic animals to the north European model that we are familiar with. Ours is an overly anthropomorphic. sentimental one whereas the prevailing model here is a more distanced, pragmatic, utilitarian one. I understand both and can fins things to praise and condemn in both positions of the spectrum. 

Notwithstanding that analytical understanding and acceptance of difference I was stunned and dismayed to find the corpse of a fully grown (obviously well nurtured) adult Dobermann dog casually discarded next to the bins at the end of our road today.

This I do not understand. 

Sunday, November 09, 2008

The future is NOT in eggs

I have an allergic eczema outbreak and part of the treatment involves limiting my diet_ Pinned to the fridge is a list of when and how much medication is due but there is another list - a list of foods I must abstain from for the next 20 days:

eggs - not a problem - I hate eggs - they are disgusting and make me retch, even the smell of them - mayonnaise though that's a different matter

fish & seafood - ho hum - fish is expensive and not a great love of mine - no great loss

cheese - oh dear - I love cheese - this is really stressful - cheese sandwiches, parmesan and peccorino on pasta - this is a trial

nuts - it is currently chestnut and wet walnut season - this one is painful - and no cashews either - roll on the end of this restriction

carrots - this one is easy I ain't bugs bunny and in casseroles one can always substitute leeks which are much tastier though less colourful

chocolate - chocolate in summer here is so unappetising but now that winter is on it's way the odd Mars bar every day is good but I can wait - now if there were Topics in the fridge this would be a nightmare

banana - my least favourite fruit after oranges and oranges are not the only fruit

strawberries - I love these with champagne but as we have no champagne and strawberries are out of season this is a breeze

apples - no great loss - I prefer pears

pork and pork products - ouch - this one hurts - bacon? no bacon? no ham - no xirino me selino - like I said - ouch

no preservatives or colourings - luckily most of our food is fresh and not processed so apart from prolonging the lifespan of the OK sauce we got in London this is no big deal

I can do this

Saturday, November 08, 2008

Friday, November 07, 2008

Mute in the presence of beauty

The sky was split in two east west when the girls caught up with me having a smoke and so ominous was the east that Gill checked that she had an umbrella with her. We smoked and talked and began to anticipate the Rothko over at Tate Modern. Lindz was all excitement - she had never seen Rothko save in books though she was acutely aware of my love for his work - she has been sending me Rothko calendars for many a year. But when I tried, in my artistically illiterate way, to explain to her that one does not see Rothko works so much as experience Rothko's work she was nonplussed. It's to do with size and power and emotion and pure physicaity of colour ... I trailed off. I become mute in the presence .... anyway, you'll experience it yourself soon enough. OK, let's go - we'll take the river boat I think.

As we walked the embankment Gill and I recalled the amazing evocation of it that Eva Figes manages (The Tree of Knowledge is it or Nelly's Version - maybe a reader here will clear it up for me - maybe it's neither). It seems my memory of this place is more closely linked now to literature than to the multitude of actual, physical experiences of the place itself. Is that to do with the effect of time or the power of the word? A chill swept along the river with the tide and brought us back to London proper and to Lindz.

As we waited for the river boat a chill of apprehension came over me at the very idea of being with Rothko again. I had, for several years before leaving the UK, used the Rothko room (Tate Modern's permanent exhibition of some of the Seagram Murals) as a place to meditate and think up new ideas (it was only a 77 bus ride away) but had even after that regular exposure still never been able to enter the room without gasping. And to think - Rothko was always worried about his legacy!

I missed the Houses of Parliament but when the Eye and the whole South Bank complex came into view memories came flooding with the tide and in no time at all we were mooring in front of the old Bankside Power Station - a place we had spent Sundays in summer long before it became Tate Modern. And off we trooped a trois, picking our way through happy familes and bemused foreign sight seers.

We eschewed the first entrance, choosing instead to enter directly into the massive and massively impressive Turbine Hall and Lindz trooped off to pick up our tickets (Lindz was picking up all the tabs today - sweetie!). I was gathering myself. Up the escalator - and there it was. We took the leaflet proffered by a young man in sports clothing who was ushering us all through the entrance. I hung back, averting my eyes from the first room and checking the leaflet - 9 rooms - the black on blacks that I've never experienced, the brown and greys, ditto, and even the black on grays - wow!. And then it happened - my peripheral vision had picked up the first room and locked in on it - I was caught and was being reeled in. My heart slowed, a lump formed in my throat and without any notice I found myself crying - floods - and suddenly I found myself standing in awe and wonder in room 3 where the Seagram Murals - 15 of them? 14? it's impossible to count and who really cares - surrounded by this amazing hanging I am shattered - I am gasping and trying to control both my tears and my breathing. Gill is beside me - she anticipated this. This is joy. Pure and simple joy. Lindz is shocked, people are looking at me and frankly I just don't care - in the presence I am autistic - incapable of communication - mute and wordless - the work speaks to me - I have no need for speech - I have nothing sensible to say.

From there on it was dumb man walking. Hyper-attentive and over-stimulated I took it all in - every room a revelation and an immersion, seeing and hearing nobody - taking it all in - a pair of eyes and a mind.

Really - I have no words.

THE REAL THING - ish - better still go to the exhibition if you can - you may never get another chance

Thursday, November 06, 2008

Bacon - no sausages - no eggs

We hurried on down a side street and cut through the grounds of Lindz's old college - beautifully restored now and a haven of light and peace and eventually we came out at the new entrance to Tate Britain - an entrance we had never seen before. We had, apparently, an 11 o'clock slot and guessed that we might have time for a coffee before tackling the dark master of 20th century British art. Lindz ran off in her sweet pigeon toed way to pick up our tickets and Gill and I sought out the new cafeteria to pre-order.

And so we chattered on for half an hour - catching up and simply enjoying the company - until Lindz checked her watch and urged us forward to the entrance. We were a little late for our slot but the uniformed guardian handed us each a 10 page boklet and then swept us inward with minimal hand gesture and a nod. I heaved a sigh of relief - it was not too crowded. There were knots of people lingering close by some of the better known works in the first room but it was not, thankfully, heaving with humanity.

The exhibition was arranged through ten rooms (don't worry - I'll not take you by the hand room by room) and promised some early works that I had never seen before and some later works ditto and there, in the first room, were a couple of early works that I had never seen even in books. Five lavender haired old ladies were huddled in front of an early sketch of what has become known as the Screaming Pope. The ladies were of strictly limited stature and I peered over their heads taking in the purple and the gold, the blacks and the gaping hole where the mouth should be. I have always disputed the screaming part of that famous soubriquet and this sketch was remarkable in that it was absolute confirmation for me that this Pope was not only not screaming (he was shouting) but that he wasn't, ironically, a Pope (a cannily disguised Ian Paisley looked out of that dark background and howled vicious empty rhetoric at me). The likeness has faded by the time Bacon got to the much better know triptychs but the evidence here nailed the lie once and for all - what a cruel and humorous man Bacon was. And the power, the disapproval and the anger, come off that sketch more effectively more eloquently than in the later workings of the topic. This exhibition promised much from this first impression.

In that first room. packed closely with many of his earliest works I could feel the power of Bacon brewing - his style took years to develop but the power was there from those earliest days:

a figure on a park bench - a figure without a head but with a menace painted with pity and insight;

a magnificent painting of a dog chasing its own tail (Bacon is magical with dogs, capturing the immanent tension and movement with a few brushstrokes) and;

finally an eerily pale, almost fading depiction of that tragic, crouching figure with the swanlike neck and the head that is little more than an upturned open mouth full of teeth that would crop up again and again in later years, an image that haunts you forever once seen - or even glimpsed.

And so it went on with room following room of powerful images that speak powerfully - some of them shouting - some of them Beckettian in their bleakness. As the rooms flow on the years pass for Bacon and the technique becomes more studied and the foreground image is layered more and more heavily (in some paintings one wonders seriously whether Bacon could have got more paint to stick) as he constrains his figures in mystical cages. The power turns up steadily until the effect on the viewer is physical.

Tired, emotionally and physically, we entered the penultimate room in disarray having been treated to unexpected (and wonderful) paintings of a man with a bicycle, another stunning dogs- this time in a gutter with his owner invisible from the waist up, and a water spout beautifully forceful and dramatically captured, to be confronted with the magnificent triptychs of George Dyer in death and after. This room has Bacon at full emotional throttle - a master filled with pathos, and insight - a painter grappling with the reality of loss and pointlessness. Here, in this one room one is confronted with the awesome ability of one human being to communicate the unsayable. Confronted with such honesty strength we lingered as long as was decent until we wandered out exhausted into the final room.

Here was the late Bacon - Bacon turned old - Bacon unmanned - Bacon fading. The power had passed from him. To me it seemed sad. Here was Bacon producing copies of Bacon - and poor imitations at that. It was instructive - it reminded me of opera singers who continue long after their instrument has lost its tone and range - instructive and tragic.. I left the girls in that room and wished I hadn't seen it.

Tomorrow - a river boat ride and Rothko ...

Wednesday, November 05, 2008

It's Tuesday so it must be the Tates

A cold bright Tuesday roused me gently from a night of fitful sleep - a sneaking wakener pushing its penetrating sheet of light under and round the edges of the blinds. Almost Austrian this light, Alpine maybe, Tyrolean even, how apt - not the quality of light I associate with London.

I checked the watch beside me - it was seven fifteen - and settled back into the lush warmth of the swansdown pillows. A two stop day this one - or three if you count the exhibitions separately - and a long anticipated day. The day with Lindz and the evening with Anna and Alex. Culture in the day and decadence in the evening - a superbly well balanced day in prospect but first things first - a shit, a shave, and a shower were all needed - and an early exit. Scratching I headed to the shower room.

As we stepped out into the morning that had, until now, hidden behind the windows the cutting cold sliced into us. It was dry but it was bracing. Bracing or bloody cold depending on how well wrapped one was. For us it was bracing - uncommonly so to a couple accustomed to Cretan winters. We picked up the pace as we headed toward the tube and its promise of insulation. Cold, bright and dry it was but loury clouds had begun to gather in the east - they would lower until dusk had long fallen but their gathering would haunt the day.

We shrugged our way through throngs of men and women of all ages and races all waiting for buses - some of them clutching young children to them - half term - as we hurried up to the tube station and forced ourselves into its maw through the Oyster card gateways. Vertiginous escalators eased us into the artificial atmosphere down there by the platforms where trains rushed in and out beyond us - not waiting our arrival - pushing gusts of warm, moist, dirty, air past us and up into the booking hall.

Arm in arm, we were coming to the fag end of the big commute, we stumbled from the moving stairway - a lack of practice, I guess, could explain the stumble. Heads up despite the dust storms we searched out the familiar and world famous London Underground signage and turned right to the southbound platform - Waterloo and the meeting clock were where we would meet up with Lindz. Amber digital signs announced our train due in one minute and sure enough a gust of filthy fetid air preceded, preannounced its arrival and presaged black bogies yet to come.

We arrived at Waterloo and burrowed our way up to ground level - the tube always makes me think of purblind moles, grey, furry, and covered in dirt - via tunnels and escalators to emerge almost opposite the renowned clock - ten minutes before ten. There was no sign of Lindz though and so I left Gill and went outside for a smoke - her habit is less demanding than my own. Big signs forbad me from the direct pavement and forced me across a road busy with taxis to a knot of like minded deviants hard by a collection of skips and builders' rubbish to huddle against the cold. Some caught short late reveller has last night left his dinner and his urine in the lea of a red lead painted skip. What a way to treat people! Odd how rigorous puritanism produces such gross results. Sated temporarily I picked my careful way through a steady stream of taxi bound latecomers and passed, on the way, a grisly, mean little sign that offered me the bargain of a lifetime - only 20 pence to take a piss! No wonder now at the reveller's relief post.

Gill and Lindz had done their helloes by the time I joined them and after hugs and kisses we headed off a trois leaving the lost and expectant masses neath the clock to their personal rendezvous. Passing the 20 pence pissoirs I realised that were heading out toward Tate Modern and stopped us all. What's first up Lindz? The Bacon. But isn't that at Tate Britain? Is it? Surely not? Lindz punched up some numbers on her mobile and confirmed my guess so we all turned 180 degrees and burrowed back down into the underworld.We were now headed for Pimlico and the Francis Bacon retrospective.

We emerged into brilliant sunshine and an eastern sky more loury than ever. Above the strangely familiar skyline over the Thames a black bank of cloud hung heavy - a sky like this I had not seen since we stood, Gill and I, on the Charles Bridge in Prague squinting up at baroque gilded statues offset against a midnight blue sky.

(T.B.C...)

Sunday, October 19, 2008

Vote Obama says the Greek Orthodox Church

I saw this in the newspaper here today. The Greek Orthodox church has no qualms about taking part in politics, in the US or anywhere else, since it is regularly a part of the executive state in Greece. Mind you in Greece almost everyone involves themselves in political debate so the fact that the state church does the same does not disturb the electorate.

However the message shown is pretty stark :  



Roughly speaking the sign says: Vote for the black - the other guy is a wanker. How true! How direct! How politically incorrect!
Refreshing isn't it?






Saturday, October 04, 2008

Book Review: The Lavender Way (the modem years) by Papalazarou

Attend! I'm about to drive readers away in droves. This is for the cognoscenti.

If you don't know I write book reviews then leave now.

If you don't know that I write experimental fiction then leave now.

Don't you just love those then and now juxtapositions? No? Then leave now.

OK, now we are all friends together, cozy and comfortable in our own small world, Huddle closer and I'll tell you something special.

Writing is a lonely pursuit. Reading is a sociable pursuit. You can always share what you have read - that is why I write reviews. Only people who have read your work can share it if you write. Only rarely do they share it with the writer.

Luckily for me, popularity and sales have never motivated me to write. Critical acclaim would be nice. Appreciation likewise. Despite having written loads of reviews I've never had a review of one of my works and certainly not of my only book form work - The Lavender Way (the modem years). Today that lack was rectified. Someone who is reading my book emailed me. I'll say no more than that this made my day.

"May I just say how much I'm enjoying your book. It has become a prize 'pick up and dip into' possession...useful for the bath and stolen minutes of solitude away from pressures of work/home/life.

I'm liking the sense of a thing developing it's own life - the introduction of different voices, the way it switches from a daily log, to discussions on literature, art, politics etc...from gossipy asides to full blown rants, to experimental exercises in self imposed constraints. It's varied enough to keep me continually interested. So well done.

The best thing about it though, is a continued sense of joy in simply being alive in a wonderful place, which I find ... inspiring I suppose. So thank you for that. Long may the log chopping (and occasional finger chopping) continue."



Love it.


Friday, October 03, 2008

Book Review : The Untouchable by John Banville.



I finished this book almost a week ago - so why has it taken me so long to write the review? A good question and one I have been asking myself in all that time. Maybe this following digression will help explain things.

Some few years ago I was having a heated discussion with a very good friend, Charles Unwin, who is a very clever guy and a great reader. We were talking about Martin Amiss, must have been about the time that Money came out, and I opined that while Martin was clearly very talented compared to his father Kingsley he had yet to produce a novel anywhere near as good as anything his father had produced. On this we kind of agreed and Charles suggested that the father's lack of natural. immanent talent had made of him a hard working writer who had thus produced some very good work by dint of hard work and application. The fact that Martin writes extremely well and obviously knows his history of the novel he has yet, in my opinion, to produce a very good let alone a great novel. I fear i fact that his publishing deal will stop him from ever so doing. And in some ways I think that this is my problem with Banville.

Banville is a great writer who has yet to write a great novel and yet ... And yet ... I still feel he might. HIs writing continues to improve but none of his subject matter matches his talent.  And so I keep reading him. And his novels are good ... not very good ... and a long way from great ... but his writing shines through. One day he may do it.

The Untouchable is a loosely disguised contemplation on the Blunt, Burgess, Maclean betrayal of the UK. Banville's  Maskell (Blunt) is well drawn and beautifully mannered but where I was expecting an essay on the nature of betrayal I received instead a classic lesson in UK class structures that came nowhere close to the insight that Genet brings to this fascinating subject. Banville lets the real notion encompassed in his topic escape him.  Maskell comes out as slight and simply egotistical (as do his co-conspirators) and this is a travesty entertaining though his take on the whole thing is.

The traitor and betrayal are wonderful topics and Banville sadly manages to betray them.  What, I wonder, will bring out his greatness? I shall continue to read him and would recommend yo to do the same.

One day. One day.