[Thursday 3pm #30] Tom attempts to throw some books out October 22, 2009
Posted by Nathan Hobby in Library of Babel, Thursday 3pm feature posts, books.add a comment
Extract #2 from novel-in-progress The Library of Babel
Over a rainy spring week, they packed their belongings in boxes. They had too much stuff; they had to keep going back for more boxes. There were so many things Tom only looked at each time he moved. He wondered if he should accept this or whether he should throw them out. Maybe it was what made moving worthwhile – it forced him to revisit objects, to reconnect with his past and the things he’d decided were worth keeping.
Then, sorting through the computer leads, half dead batteries, assorted pencil tins given as gifts by his mum which had accumulated in drawers, he revised his thinking. There were many things he hadn’t decided were worth keeping; they had just clung on to him like prickles and he had failed to throw them out, or he had some sense that they might be needed.
He got to the books which had outgrown his shelves and were doublestacked in places. The Sinclair Morgan Library’s problem in miniature. He put six in a pile to take to the opshop, four of them which he’d failed to read in ten years of having them and two which he’d read and hadn’t loved. He couldn’t find a single other book amongst his thousand that he was prepared to part with.
He began packing his thousand books in cardboard boxes. He was thinking about what qualified a book for keeping. If it was a favourite book, that obviously needed keeping. But also if it had lots of annotations – ticks on favourite passages, underlinings, comments, dates he started different chapters – those books qualified for keeping too, even if they weren’t favourites. Those books retained a record of the hours spent on them. He liked to think that reading back over the annotations enabled him to recall the reading experience, reanimating the time he had put into the book.
And then there were books that he thought he’d be going back to, reference books, difficult books which needed re-reading, classic books he needed to check things in or to have on his shelf for appearance’s sake. Maybe he was being too harsh on himself; it wasn’t that many people ever inspected his shelves. It was more likely it was for his own self-esteem; it told him that he was capable of reading Finnegan’s Wake and Moby Dick – one day.
Anita caught him in the lounge spending too long on the books and said, ‘Do you want me to do this for you?’
‘No,’ he said. She used to like reading till she married him. But she told him that his obsession with books had put her off them. As a kind of conscientious objection to his preoccupation, she was reading very little these days. It wasn’t working; he read as much as ever, but he felt lonely that he couldn’t talk books with her as much as they had when they were dating.
When he finally finished packing the books, pin and needles ran through his legs from crouching down so long. He picked up the pile of six discards to put them in a plastic bag, only to reconsider three, which he added to the last box. It barely seemed worth taking the three other books to the opshop, but he needed to make some gesture toward deaccumulation.
[Thursday 3pm #29] Janet Hobhouse and The Furies October 15, 2009
Posted by Nathan Hobby in Thursday 3pm feature posts, book review.add a comment
Janet Hobhouse died of ovarian cancer in 1991 in her forties. She didn’t finish editing The Furies, but it’s seen as her greatest work. It deserves to be read.
Reviewers invariably treat it as autobiography rather than the novel it was published as, and it certainly has the feel of autobiography. The trajectory of the narrative has all the repetitiousness and random intrusions of life itself. It starts before the narrator is born, with the tangle of family that led to her:
That my mother, who viewed herself as as related to very few other beings in the universe, should have descended in a mere three generations from this world of wealth and kindness, this reliable multiplicity of connected others, this cohabitation of cousins, aunts, servants etc., says something about the speed of American life in this century, which cannot only provide a solitary immigrant with the means to create, in a matter of decades, a secure and well-populated dynasty, but can also, and at the same rate, take all these steps in reverse, reducing, as in our case, a huge, prosperous, civically active and internationally connected clan to a mere handful of desperate solitaries, operating like ball-bearings in outer space.
The book follows the narrator through childhood and adulthood, to the horror of her mother’s suicide and the sudden plunge into cancer. A postscript of apparent recovery; we know this wasn’t to last. It’s a book and a life with many tragedies. I felt the same as one reviewer who said to read this book is to get to know Janet Hobhouse, only to lose her. She seems like someone who would have been worth knowing.
Her prose has an unusual quality: confessional, honest without a hint of apology. Her story is compelling, giving the feel of life without even zooming in on many scenes, but capturing the flow of it.
(PS: Couldn’t help being delighted by the similarity of title and name to my novel. Hobhouse/Hobby – The Furies/ The Fur.)
[Thursday 3pm #28] The Hoarding Recluses: A Review of E.L. Doctorow’s “Homer and Langley” October 8, 2009
Posted by Nathan Hobby in Thursday 3pm feature posts, book review, books, history.Tags: Collyer, doctorow, Homer & Langley
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Homer and Langley Collyer were two hoarding recluses who suffered notorious celebrity, at least in New York City, in the 1940s as they fought against the power company, the bank, and the city council. They lived in a large house inherited from their parents and filled it with everything they could get their hands on. Homer was blind; Langley saved years of newspapers in massive piles (‘like cotton bales’ Doctorow imagines) in case Homer ever got his sight back and wanted to catch up on the news. By the end, the paranoid brothers had set traps around the house and could barely move through the narrow passageways between junk. They died within days of each other in 1947 and compulsive hoarding is named after them – Collyer Syndrome. According to Wikipedia, 103 tonnes of rubbish was removed from their house:
Items removed from the house included baby carriages, a doll carriage, rusted bicycles, old food, potato peelers, a collection of guns, glass chandeliers, bowling balls, camera equipment, the folding top of a horse-drawn carriage, a sawhorse, three dressmaking dummies, painted portraits, pinup girl photos, plaster busts, Mrs. Collyer’s hope chests, rusty bed springs, the kerosene stove, a child’s chair (the brothers were lifelong bachelors and childless), more than 25,000 books (including thousands about medicine and engineering and more than 2,500 on law), human organs pickled in jars, eight live cats, the chassis of the old Model T Langley had been tinkering with, tapestries, hundreds of yards of unused silks and fabric, clocks, fourteen pianos (both grand and upright), a clavichord, two organs, banjos, violins, bugles, accordions, a gramophone and records, and countless bundles of newspapers and magazines, some of them decades old.
From such promising source material in the hands of a masterful novelist, Homer & Langley disappointed me. It feels like a novel which never takes off. Narrated by Homer, it is an episodic account of his life from childhood to the late 1970s (Doctorow has the brothers live on several decades longer than they did in real life). A gangster and a group of hippies stay with the brothers at different times, and many others come into their lives for a little time only to leave again. Doctorow doesn’t stay with any of these characters long enough for their interactions with the Collyers to take on enough significance.
The other problem is the first person narration. It doesn’t suit the story Doctorow is telling. We need a narrator who can see the significance and full eccentricity of the Collyers, rather than one to whom their life is insignificant. We need fresh eyes – and Homer has no sight at all – to describe the wonders of the hoarded house.
Perhaps the conflict with the power company and banks would have been more compelling if there was a character representing one of them, an antagonist in ongoing conflict with the Collyers, instead of a couple of faceless stand-offs at the front door.
The charms of this novel are in Homer’s philosophy of the world and his mad projects.
He wanted to fix American life finally in one edition, what he called Collyer’s eternally current dateless newspaper, the only newspaper anyone would ever need. For five cents, Langley said, the reader will have a portrait in newsprint of our life on earth. The stories will not have overly particular details as you find in ordinary daily rags, because the real news here is of the Universal Forms of which any particular detail would be only an example. The reader will always be up to date, and au courant with what is going on. He will be assured that he reads the indispensable truths of the day including that of his own impending death, which will be dutifully recorded as a number in the blank box on the last page under the heading Obituaries. (p.49)
At moments like these, the novel brings to mind Paul Auster and the fascinating life projects of his characters.
I could find only one non-fiction book written about the Collyers; it’s called Ghosty men : the strange but true story of the Collyer brothers by Franz Lidz.
[Thursday 3pm #27] Quotes From The Library At Night October 1, 2009
Posted by Nathan Hobby in Thursday 3pm feature posts, books, libraries, quotes, reading.Tags: Alberto Manguel
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Alberto Manguel’s The Library At Night examines books, reading and the library through a series of themes. It’s the sort of book where so much of it feels quotable that one is tempted to give up: the book resists being reduced, highlighted. Still, here’s some quotes I have pulled from it:
A library is an ever-growing entity; it multiplies seemingly unaided, it reproduces itself by purchase, theft, borrowings, gifts, by suggesting gaps through association, by demanding completion of sorts. (56)
During the day, I write, browse, rearrange books, put away my new acquisitions, reshuffle sections for the sake of space. Newcomers are made welcome after a period of inspection. If the book is second-hand, I leave all its markings intact, the spoor of previous readers, fellow-travellers who have recorded their passage by means of scribbled comments, a name on the fly-leaf, a bus ticket to mark a certain page. Old or new, the only sign I always try to rid my books of (usually with little success) is the price-sticker that malignant booksellers attach to the backs. These evil white scabs rip off with difficulty, leaving leprous wounds and traces of slime to which adhere the dust and fluff of ages, making me wish for a special gummy hell to which the inventor of these stickers would be condemned. (17)
And yet, however careful our reading, remembered texts often undergo curious changes; they fragment, shrivel up or grow unpredictably long. In my mental library, The Tempest is reduced to a few immortal lines, while a brief novel such as Juan Rulfo’s Pedro Paramo occupies my entire Mexican imaginary landscape. A couple of sentences by George Orwell in the essay “Shooting an Elephant” expand in my memory to several pages of description and reflection that I think I can actually see in my mind, printed on the page; of the lengthy medieval romance The Devoured Heart, all I can remember is the title. (197)
[Thursday 3pm #25] Endpoint and other poems : a dispatch from the afterlife September 17, 2009
Posted by Nathan Hobby in John Updike, Thursday 3pm feature posts, book review, death, poetry.add a comment
Reading John Updike’s final book, a collection of poems, is like receiving a dispatch from the afterlife. The poems take us nearly up to the point of his death from lung cancer in January this year. He sent the manuscript off and then he died.
The cover photo has a poignancy to it, with its spontaneous, snapshot quality, the sombre ordinariness of it in its black and whiteness, and the sense that John is about to head off down a path we can’t follow him down, not yet.
The collection starts with the ‘Endpoint’ sequence that takes us through each of his last birthdays, starting with his seventieth in 2002, and then into his diagnosis and swift death. His thoughts range across his life, from childhood to old age, as he reflects on mortality, aging, memory. In 2005 he writes
A life poured into words – apparent waste
intended to preserve the thing consumed.
For who, in that unthinkable future
when I am dead, will read? (p.8)
In hospital, having learnt of his death he writes:
Must I do this, uphold the social lie
that binds us all together in blind faith
that nothing ends, not youth nor age nor strength,
as in a motion picture which, once seen,
can be rebought on DVD? My tongue
says yes; within, I lamely drown. (p. 23)
His final reflections are baldly honest. His poetry is less ornate than his prose, and it makes him seem more vulnerable, frail. He has let me in on the final secret journey he took, which I only learned he had taken when his death was announced that hot, hot January day.
After the ‘Endpoint’ sequence, are pages and pages of other poems, as if to say John is not really dead, as if to say he’s still alive like he should be, like I thought he would be.
[Thursday 3pm #23] Possession: the novel and the film September 3, 2009
Posted by Nathan Hobby in Thursday 3pm feature posts, book review, film review.Tags: A.S. Byatt, Possession
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Novel: Possession: A Romance / A.S. Byatt (1990)
Film: Possession (2002)
The novel
I found Possession an engrossing novel. It is the story of two contemporary literary scholars – Roland Mitchell and Maud Bailey – who discover a secret affair between two (fictional) nineteenth century poets – Randolph Ash and Christobel LaMotte. The scholarly world is captured with all its interesting intrigues.
At one level, the novel’s title refers to questions of ownership over history and historical figures and their traces. The theme is illuminated by Roland Mitchell’s initial act of theft of a draft of a letter from Ash to LaMotte when he discovers it in a book Ash once owned. Mitchell feels it’s his discovery and he should ‘possess’ it; a feeling intensified as he enlists Maud’s help and they find themselves on the run from other Randolph Ash scholars, including the American collector Mortimer Cropper whose massive cheque-book allows him to ‘possess’ many Ash relics.
The word ‘possession’ also sums up the exploration of romance and relationships. In both the nineteenth century affair between Ash and LaMotte and the contemporary one between Roland and Maud, the lovers struggle with the nature of love. Is it about possessing the other?
The nineteenth century narrative is created purely through documents (with the exception of the epilogue) – including letters written by the lovers, diaries by their respective partners (Ash’s wife, LaMotte’s lesbian partner), and pages and pages of their poems. The poems read just like nineteenth century poems; an incredible achievement. But they bored me and I skipped over pages of them – I wanted to read a novel, not poems!
The film
The film version of Possession takes just 98 minutes to adapt a 511 page novel. It is both a simplification and a ‘greatest hits’ collection of scenes that on its own – without knowledge of the novel – lacks emotional power and significance. Trying to develop two parallel romances in different centuries in that short amount of time is impossible, and the film makers barely even try – Maud and Roland, the present day lovers, are reduced to one awkward encounter and then discussion of it.
The thriller element of the novel, with different parties pursuing the secret of Ash and LaMotte is only lightly used in the film, a strange decision given its cinematic potential. The film-makers do use the dramatic grave robbing climax, but in a truncated and disappointing scene which doesn’t make much sense. Roland Mitchell wrestles the box from Cropper and takes it away to look at it with Maud, no more ethical than Cropper himself.
The most disconcerting aspect of the film is the casting of big jawed hunk Aaron Eckhart as the supposedly shy and bookish unemployed scholar Roland Mitchell. In the book his girlfriend calls him ‘Mole’, a name no-one would apply to Aaron Eckhart’s character. Probably to appeal to the American audience, he has also become American, when his Englishness was so central to his character in the novel.
[Thursday 3pm #18] American Habits July 30, 2009
Posted by Nathan Hobby in Thursday 3pm feature posts, autobiographical, lists, reading.1 comment so far
On Tuesday night, when I should have been doing something productive or relaxing, I created a graph showing how many novels (and other narratives) I had read by country since 1996. The results were predictably homogenous, but even more weighted toward the USA than I imagined.
There you have it – 220 from the USA, 101 from Britain, 68 from Australia, 14 from Canada for the top four places. I don’t have records from 98-00; maybe I was much more cosmpolitan in those years. The figures are also skewed toward the USA because in 96 and 97 when I was a science fiction addict, just about everything I read came from there.
I was thinking of resolving to read more Australian, European, Asian and African texts to broaden my horizons. And maybe I will. But I’m not going to worry too much. There’s too many things in this world to feel guilty about.
But I am curious about why I’m so drawn to American fiction. I have an aversion to consumerism, patriotism, fundamentalism and unchecked capitalism, all those things America is famous for. But I am also fascinated by America, and even to prod and gawk at those things I hate. Many of my favourite authors are American – Auster, DeLillo, Franzen, Moody, McCullers, Updike. I’d like to visit the USA some day; I’ll just have a hard time convincing my wife. (I think I would like to travel by train across its heartland; keep meaning to read Don Watson’s account of this.)
I think its easier to read in tune with our own culture, rather than cross cultural boundaries; and interestingly I don’t feel like I have to cross much of a boundary to read American fiction – or British fiction, I suppose, but I’ve found less authors there whom I love.
Interestingly just about every European novel I have read has been brilliant. This is merely a reflection of how selective I’ve been, but there’s an untapped continent there. In fact, there’s at least four of them.
What are your reading habits like? Regale and shame me with the stories of how you spend your leisure time reading Afghani novels in the original or 13th century Chinese epics. Go on, show me up. 
[Thursday 3pm #11] My thunder stolen : a sequel to the Catcher in the Rye June 11, 2009
Posted by Nathan Hobby in J.D. Salinger, Library of Babel, Thursday 3pm feature posts.Tags: Catcher in the Rye, Holden Caulfield
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Having turned 90 in January, J.D. Salinger is in the news, suing an author who calls himself J.D. California to prevent him publishing a sequel to The Catcher in the Rye called ‘60 Years Later: Coming Through The Rye’.
The novel already appears for pre-sale on Amazon. The publisher is of dubious reputation, and the buzz around the book itself is not positive. If anyone was going to try to pull this off, it would have to be brilliant. As the title suggests, this sequel starts with Holden at 76, apparently losing his marbles and revisiting New York City.
In 2004 on my old blog (which was lost forever when the modblog servers went down permanently back in 2006) I wrote a creative post about a sequel to the The Catcher in the Rye called Holden Rides Again. In my post, I had obtained the manuscript from a girl who was romantically linked with J.D. Salinger’s son, Matty (star of an infamously bad telemovie version of Captain America – I’m not joking, this much is true). I gave a plot outline for the manuscript and was pleased when one person left a comment saying they couldn’t wait for it to be published for real.
J.D. Salinger has said that Holden exists only in the covers of the book; that there’s no more to tell. But for so many fans, myself included, that’s not true. I would love for him to have come alive for longer, to have read more of his adventures, to have found out how such a distraught youth might live the rest of his life.
In The Library of Babel, my new novel, the new draft actually starts with Tom finding a manuscript copy of J.D. Salinger’s sequel to Catcher in the Rye in the rare book room of the library. It’s a move that I’m in two minds about; I don’t want to dwell forever in the shadow of Catcher (characters reference it in my first novel; and originally in my second, one of the characters was named after Jane Gallagher, but this is gone now). But the point was something else – the sequel is about what happens when the angsty sixteen year old has to grow up. What comes next? What comes after deciding everyone’s a phony?
I wanted to situate my novel as an exploration of these themes. I have consciously left behind themes of adolescence and want to write about the mid to late twenties, and the challenges of living at peace with the world, while still trying to be authentic.
I may have to rethink using the sequel to Catcher in the Rye at all. In case it gets edited out, and in light of J.D. California’s hype, here’s my sequel to Catcher in the Rye, in the form of chapter four of the Library of Babel:
Have a read and then vote in the poll, just like reality TV:
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This blog is about the literary life of a writer in Perth. Expect reflections on reading and writing and feature posts on whatever's caught my attention, from historical curiousities to autobiographical reflections. I have a separate blog for theology - 
