'So how about it, Tone? Do you want to hear
you and your late wife "doing the deed"? Like I say,
it all sounds distinctly underwhelming to me. Lots of talk, but
where's the meat? Still, I have high standards in these things.
Maybe it'll be different for you. Might bring it all back, eh?'
Thanksgiving
readers who are up on their Kubrick will probably find the novel's
opening section with Darryl Bob reminiscent of the opening scene
of Kubrick's Lolita adaptation: a jealous lover arrives
at a rival's house with a handgun and soon finds he's losing
control of the confrontation. But while Humbert Humbert does
in fact shoot and kill Quilty, Anthony leaves Darryl Bob alive--indeed,
he even sells Darryl Bob his gun. But once he makes it back home,
Anthony finds himself confronted by a detective: Daryl Bob is
dead by Anthony's gun, and its original purchase has been traced
back to Anthony. Now, on top of his nostalgia, Anthony has a
more pressing memory question: did he, in fact, murder Darryl
Bob and block it out of his memory? It's not as farfetched as
it might sound: his wife once told him he forgets the past because
it scares him, and from the way he sounds in Thanksgiving,
you can't disagree. Of course, since the dead wife's spirit (ghost?)
begins appearing to Anthony after he's returned home, maybe he'll
get to ask her for privileged insight.
Michael Dibdin has already established a sterling
critical reputation as a mystery novelist (particularly with
his Aurelio Zen series), and he brings to Thanksgiving (his
first literary novel) the speed and efficiency of a no-nonsense
mystery writer who understands how to let his story progress
through quick, adept dialogue. Dibdin's pace is fast without
seeming relentless, and the effect--cinematic, really--is whoppingly
pleasurable. Thanksgiving isn't a particularly large book,
but it's a mastery effort nonetheless, and it hopefully marks
only the beginning of Dibdin's career as a literary novelist.
Did
I mention our theme this month is ghost-plagued protagonists?
The narrator of John Banville's Eclipse is--brace yourselves,
everyone--haunted by ghosts of his own, but it's not clear who
they are, precisely...or even if they're coming from the past.
Alexander Cleave is a fifty-year-old actor
who breaks an acting contract in the midst of an existential
crisis and, despite his wife's protests, moves into his dead
mother's house "as a brief respite from life." The
psychological underpinnings of the crisis are satisfyingly complicated,
but it seems connected to his professional need to project various
feigned selves before a paying audience while feeling too little
self off the boards. It's worth mentioning, I suppose, that Cleave
has recently experienced an horrific bout of frozen speechlessness
on stage (another film parallel: Bergman's Persona), which
he quite humorously describes thus:
There I am stuck, in my Theban general's costume,
mouth open, mute as a fish, with the cast at a standstill around
me, appalled and staring, like onlookers at the scene of a gruesome
accident. From curtain-up everything had been going steadily
awry. The theatre was hot, and in my breastplate and robe I felt
as if I were bound in swaddling clothes. Sweat dimmed my sight
and I seemed to be delivering my lines through a wetted gag.
"Who if not I, then, is Amphitryon?" I cried--it
is now for me the most poignant line in all drama--and suddenly
everything shifted on to another plane and I was at once there
and not there. It was like the state that survivors of heart
attacks describe, I seemed to be onstage and at the same time
looking down on myself from somewhere up in the flies. Nothing
in the theatre is as horribly thrilling as the moment when an
actor dries....I had not forgotten my lines--in fact, I could
see them clearly before me, as if written on a prompt card--only
I could not speak them....I turned about and with funereal tread,
seeming to wade into the very boards of the stage, made a grave,
unsteady exit, comically creaking and clanking in my armour.
Already the curtain was coming down, I could feel it descending
above my head, ponderous and solid as a portcullis. From the
audience there were jeers now, and a scattering of half-heartedly
sympathetic applause. In dimness backstage I had a sense of figures
running to and fro. One of the actors behind me spoke my name
in a furious stage whisper. With a yard or two still to go I
lost my nerve entirely and made a sort of run for it and practically
fell into the wings, while the gods' vast dark laughter shook
the scenery around me.
By retreating to his childhood house, Cleave
hopes to "catch myself, red-handed, in the act of living;
alone, without an audience of any kind, I would cease from performing
and simply be."
Naturally, Banville won't let it be that easy
for him; the resident ghosts start appearing almost immediately,
even before his wife has angrily stormed off. Soon, they appear
regularly, though their forms remain obscure. A mother and child,
perhaps? It wouldn't be surprising, Banville writes: the house
is popularly believed to be haunted by a mother and child who
died there. But Cleave isn't so sure, himself. They may be merely
hallucinations, subconsciously sent to distance himself from
the house. Whatever their source, they don't frighten him, though
they don't help him, either. There is a literal eclipse in the
novel, but Banville uses it metaphorically to describe all his
afflicted characters--like Cleave, but there are others--who
have fallen into an unexpected shadow of existential darkness.
Celestial eclipses are passing, of course; the question remains
whether Cleave's will be as well.
Banville's readers should feel an undeniably
pressing need to 'solve' the mystery of Cleave's ghostly visions
and see him through to a healing conclusion, but it's Banville's
poetic stylings that really drive Eclipse so powerfully,
I think. The care and precision Banville shows in word selection
and even syllable counting suggests a poet's demand for compressed
brilliance. Banville's writing often evokes T.S. Eliot--particularly
early Eliot, as we see here (think especially of Preludes
and Prufrock):
Last of evening in the window, dishwater light
and the overgrown grass in the garden all grey. I wanted to say,
I have lived amid surfaces too long, skated too well upon them;
I require the shock of the icy water now, the icy deeps. Yet
wasn't ice my trouble, that it had penetrated me, to the very
marrow? A man thronged up with cold...Fire, rather; fire
was what was needed...With a start I came back to myself, from
myself. Quirke was nodding: someone must have said something
of moment--Lord, I wondered, was it me?
Banville has written twelve books now to great
critical acclaim, but widespread popular success has inexplicably
eluded him. I don't know that Eclipse will change that;
I can only say that I hope it will. He is truly one of the most
sophisticated, subtle novelists working today, and it's nothing
short of embarrassing to see the money going to the legal thrillers
while the only works likely to survive the distance go sinfully
underappreciated in their authors' prime.
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