Quoted without comment

How Ian McEwan validates his novels before publication:

Fans of McEwan’s novels will be interested to learn that before he finishes any book he has it read by three friends – Amis firmly not being one of them. “I don’t want a novelist reading my work, thank you very much!” McEwan says.

The three are the Oxford historian and Guardian columnist Timothy Garton Ash, the poet Craig Raine, and the philosopher Galen Strawson. Garton Ash persuaded him to drop the “An” from the title of his novel An Atonement. Raine berates him whenever he slips into cliche, as he once did with the phrase “flickering log fire” – they now have a running joke of marking f.l.f. in the margins of each other’s work.

The spirit of constructive criticism is not always happy. When they met to discuss The Comfort of Strangers, Raine told McEwan: “Listen, love. It’s complete crap, and you should put it in a drawer and forget it.” McEwan refused to speak to him for almost two years.

McEwan is of course the author of Saturday, recently reviewed here.

Saturday — Ian McEwan

Cover of Saturday


Saturday
Ian McEwan
278 pages
published in 2005

I’ve been suspicious of Ian McEwan ever since I read his Book prize winning novel Amsterdam and almost threw the book against the wall at the denouncement where McEwan descended into stupid cliches about the Netherlands’ attitude towards euthenasia. That suspicion deepened when it turned out McEwan, like Martin Amis had turned into a permanent bedwetter after the September 11 attacks. He’s been less outspoken than Amis, but he has said enough for me to know I dislike his politics, which seems to be of the Decent Leftist persuasion, being obsessed with the struggle against “Islamism”, the threat of terror attacks and the vulnerability of the western democracies. As with Amis, “9/11” seems to have functioned as McEwan’s midlife crisis, his fear and doubts about his own encrouching mortality being confused for insight into the general condition of the world. It’s this mixture of Decent politics and midlife crisis that’s been poured out into Saturday. I didn’t want to read it at the time when it first came out, being warned off it by various reviews, but four years on I thought it would be interesting to see if it really was as dire as it was made out to be.

It is.

Had I read this in 2005 it would’ve been thrown against the wall, library book or not. Set on the day of the worldwide anti-war protests on 15 February 2003 a month before the invasion of Iraq, with the London march making regular appearances througout the novel. Not that any of the characters in the book actually go on the march, they all have something better to do. Even the protagonist’s son, described as anti-war doesn’t, as “he doesn’t feel much need to go tramping through the streets to make his point”, confusing making a political statement with narcissism. It’s typical for the entire novel, which hammers this point home again and again from the first encounter with the march, with a street cleaner sweeping up garbage left behind by people going to the march to the last, with the same street cleaner still busy cleaning up behind the march. This way the anti-war protest is reduced to something hypocritical, narcisstic and even frivolous. Saturday only pays lip service to the arguments of the antiwar movement, spelled out explicitely just once, in a row between the protagonist and his daughter, who gets to represent the antiwar side. She gets emotional and slightly hysterical while her father gets to stay calm and collected; later it’s revealed she’s pregnant. In such a way the antiwar movement is constantly dismissed, at best shown as shallow people who mean well but who just don’t realise how bad Saddam is.

Read more

Three by Ellis

Ellis Sharp, over at the Sharp Side has in recent weeks written some excellent posts. Here are three of them:

First up, short post on the politics of remembering:

And contrast the Bali memorial (which will apparently be a large stone globe) with the memorial to the
victims of the 1987 Kings Cross fire. It’s a perfunctory, obscure, barely-noticeable plaque which says
nothing at all about the tragedy and does not list the names of those who died, even though many of them were residents of the capital. But then the Kings Cross fire resulted from the under-funding and undervaluing of public transport, with rubbish allowed to accumulate under ancient wooden escalators, and an easygoing attitude to smoking in confined public spaces which was a tribute to the lobbying power of the tobacco industry and its political pimps (QV Margaret Thatcher and Ken Clarke).

Then there was this post on Aldeburgh, a small seatown resort in Suffolk, which reminds me quite a lot of similar towns on the Dutch coast in Zeeland, towns like Veere or Middelburg. Towns that look nice, elegant and cultured at first, but are largely ruled by provincialism, where the idea of having a work of art in your house is reduced to a reproduction of a 17th century map of the province hanging in your hallway, next to the clothes rack.

You’d expect an independent bookshop to be a bit, well, arty and liberal. Not in Aldeburgh. The shop seemed to be run by ghastly braying Tory women. My deep distaste for the shop hit new depths as I discovered it didn’t have any Crabbe in stock. No edition of his poetry; no biography; nothing. I was looking forward to buying a Crabbe edition, which would then inspire me to read my second hand biography. But they didn’t even have Crabbe in the slimline £2 Everyman Poetry series, let alone a more substantial edition. Yet Crabbe’s closest associations as a poet are with Aldeburgh. I hate bookshops which don’t carry the work of local writers and the absence of Crabbe plus the cretinous petition made me stomp furiously out again, determined not to buy anything.

Most recently, he reprinted an excellent review of Ian McEwan’s Saturday by John Banville:

Saturday is a dismayingly bad book. The numerous set pieces — brain operations, squash game, the encounters with Baxter, etc. –are hinged together with the subtlety of a child’s Erector Set. The characters too, for all the nuzzling and cuddling and punching and manhandling in which they are made to indulge, drift in their separate spheres, together but never touching, like the dim stars of a lost galaxy. The politics of the book is banal, of the sort that is to be heard at any middle-class Saturday-night dinner party, before the talk moves on to property prices and recipes for fish stew. There are good things here, for instance the scene when Perowne visits his senile mother in an old-folks’ home, in which the writing is genuinely affecting in its simplicity and empathetic force. Overall, however, Saturday has the feel of a neoliberal polemic gone badly wrong; if Tony Blair — who makes a fleeting personal appearance in the book, oozing insincerity –were to appoint a committee to produce a “novel for our time,” the result would surely be something like this.

Every time I read extracts from Saturday, my gorge rises. I haven’t got a high opinion of McEwan to start with and these excerpts confirm my opinion. Yet I still know I will need to read this book sooner or later if only to be able to pan it with a clear consciousness.