Literary reviews by Tim Love.
Warning: Rather than reviews, these are often notes in preparation for reviews that were never finished, or pleas for help with understanding pieces. See Litref Reviews - a rationale for details.
Showing posts with label William Boyd. Show all posts
Showing posts with label William Boyd. Show all posts

Sunday, 17 March 2024

"Dream Lover" by William Boyd

An audio book. Short stories. I listened while doing other things so my notes are confused, and the audio book didn't show a list of titles.

In Lizard Killer, a boy (whose family has moved to Africa from the UK so that his father can become prof) sees his mother being intimate with another man. The boy kills lizards.

An American ex child actor, now divorced, wanders the beach each day looking for Christopher Isherwood.

Because of epilepsy, a man has had his celebral hemispheres separated. His old friend stays with him, with his unsuitable wife. His previous lover was much nicer. He finds the wife dead. Suicide? The previous lover breaks the news to his friend that she's about to marry someone else. Apparently the man killed his friend's wife (tying to be helpful) using only one side of his body, the other side unaware. His friend saw him murdering.

The narrator is a boarding school boy who's joined the school opera choir because local girls allegedly join it to meet boys. He meets Alison and feels pressure to lie about the nature of their relationship. He has the chance to be alone with her one evening. He falls asleep (and equally unexpectedly Alison just waits!) as they start cuddling while in the next rooms his friends get much further. He walks her to the bus stop. He doesn't like "the idolatry of masturbation" that school life enforces.

I'm 4 stories in, and I'm not yet convinced.

In "The care and attention of swimming pools" the narrator takes his job seriously and gets his comeuppance

A diplomat is about to leave Doala in Africa. He learns he has gonnorrhea. He's offered farewell sex with a wife. Before it gets too serious he rejects her, for moral reasons, he says, but he's in pain. She's angry and upset.

"Gifts". He lands in Nice. 18, a student. He's short of money, works out schemes to keep himself and his clothes clean. On the night his landlady becomes a widow, money arrives from England and a girl shows him her tits, so he's happy.

A shy boy in France, soon to return to England is given a chance to have sex with a fat easy old lay. He's grateful, and so is she. She holds him after.

A aircraft-carrier pilot dislikes some of his colleagues. On shore leave he meets a woman with low self-esteem because of her napalmed back. Back on the ship he sabotages so that a heartless pilot dies on take-off

Bat-girl - 1st person. She's from Lancashire. In a stall of a travelling circus in a body stocking she lets a bat crawl over her. In Oxford, a student's fixated, shyly asking her out. She visits his rooms. Her minder attacks the student.

Weekly a boy temporarily living abroad eats at the house of a family with 3 daughters. He tells a friend he rather likes them. The friend says he's slept with them all. The boy has more luck later.

A minor diplomat, about to leave a hot country is stranded at a hotel because of a coup. He meets a woman, an air hostess. He sees her at the pool with a foreign man. He wants to show off but diving, he bellyflops. Besides (we only now learn) he's fat and balding. She's concerned, checks that she's ok. He boasts about his status. They sleep together. She remarks it's amazing how people from such different layers of society can get on so well. Next day at the airport she acts like they're a couple. He's worried that he'll be found out. He's relieved when he's called away.

Cheryl marries vice-president Lamar. His work suffers. She's flirty with the narrator. She leaves Lamar, taking his car. She's with another man.

The male manager of company dealing in cork resigns because he's falling in love with the female owner. They meet each Xmas for sex. The story is punctuated with documentary paragraphs about cork. At the end she hears that he died of alcoholism, unmarried.

A meta-story, where the author restarts a piece, explaining how/whether the characters match reality. The main character and a woman are together in a house with Frank, his old brother. The main character pretends to go away for a while, but instead spies on Frank and the woman. They're having an affair. He kills Frank. At the end we're told that Frank and the woman are living together somewhere.

"The diary of Natalie X" - An avant-garde French film is remade in LA. Multiple-voices. Goes on far too long.

Wittgenstein is the PoV, suicide the theme. He gives money to a poet who had trained to be a pharmicist only so he can get drugs. He kills himself in the war. Wittgenstein's impressed by his pianist brother's willpower to carry on though losing an arm.

There are first person and third person stories, set in Africa, America, France, England, etc. The voices are convincing (though so far always articulate, and usually judging others by their physical attraction). When faced with a pivotal moment, characters tend to retreat even though it's the opportunity they've been waiting for. Plots sometimes sound like an add-on, trying to turn a monologue into a shaped story. Sometimes it's as if he didn't want to waste some research. I sometimes prefer the research to the story. Cleanliness, attractiveness (even if not pretty/handsome), teeth clashing when kissing, and hairy female armpits recur.

There are sections I liked. In the end I think I preferred the book to any particular story - there was sufficient variety of settings, and the most common scenario (student-age boy, directionless, in a foriegn country, shy with women) is one I easily fall for.

Other reviews

  • Vanessa Thorpe (When you pick up a William Boyd short story, you can be sure of three things. First, that you will hear a narrative voice which is the clear expression of the modern literary mind; second, that this same voice will also be a distillation of the greatest writing in the fairly short history of the short story; third, you can rest assured you are in safe hands. ... Passive or accidental observers, whether the neglected infant in 'Killing Lizards' or the confused youths in 'Hardly Ever' and the title story of the collection, 'Dream Lover', are crucial to what Boyd does.)

Wednesday, 23 December 2015

"The Destiny of Natalie X and other stories" by William Boyd (Sinclair-Stevenson, 1995)

Stories from Granta and London Magazine that range from 2 to over 40 pages long.

The title story is multi-PoV but otherwise not very interesting. I liked "Transfigured Night" more. It features Wittgenstein ("I contemplated their naked bodies. I saw that they were men, but I could not see they were human beings"). The major theme is suicide. His brother decides to continue his piano career though he's had an arm amputated in the war - "There is silence, and then I say 'Bravo, Paul. Bravo.' And, spontaneously, we all clap him". "Hotel des Voyageurs" is a non-event. "Never Saw Brazil" is preferable to "The Dream Lover", thought neither appeal much. Boy gets girl again. American language-students in France again.

In "Alpes Maritime" sisters are again fancied by the same man. This time they're twins who share a room even after the man often stays the night with one of them - the one he fancies least. By studying behaviour he tries to assess the progression of couple's relationships. "N is for N" fails.

As one of the reviews below suggests,"The Persistence of Vision" could act as a manual for reading these stories. The male is even more calculating than is usual in this book - "the casual invitation absent-mindedly offered just as one was saying goodbye, about to set off: 'Look, I don't suppose you'd fancy ...?'". But it's not much of a story, though there are many details to enjoy.

I didn't understand what the final story, "Cork", was trying to do. I felt the same about many of the other stories too, which rather surprised me because the description of his style made me think I'd like the stories.

Other reviews

  • Good reads
  • Michael Franks (LA Times) (Setting aside two of the briefest, which are fragments themselves, seven of the remaining nine stories are assembled out of discrete images or their narrative equivalent, which Boyd works into a number of different collages ... their connection is less one of theme than of technique--although, by the end of the book, the technique virtually becomes its theme, as we see that Boyd has been endeavoring to demonstrate that discrete images, when combined artfully enough on the page, can bring about animation in the reader's mind ... The physiological eye may possess persistence of vision, but the reader's inner eye resents having to fill in quite so many gaps. ... the narrative pyrotechnics still draw more of our attention than the characters' feelings or inner lives. )
  • Michael Upchurch (NY Times) (He is at once as playful as the most perverse metafictionist yet as passionate as the lushest writer of romance. He has a taste for ambiguity and, at the same time, a frank appetite for slapstick ... Many of the stories' startling contrasts in texture are explained by the author's fascination with different means of perception -- whether the camera lens, as in the title story, or the painter's selective eye, in ''The Persistence of Vision,'' or a pocket diary in the pithy jeu d'esprit ''Lunch'' (which could have been written by Donald Barthelme). Whatever the refracting device, Mr. Boyd's ability to zero in on ordinary human foibles and woes -- daydream delusions, cultural dislocations, emotional smash-ups -- is swift and sure. ... Only two pieces fail to come to life: ''N Is for N,'' a commissioned piece for an illustrated alphabet by David Hockney, and ''Hotel des Voyageurs,'' an elusive vignette that takes its inspiration from a passage by Cyril Connolly.)

Wednesday, 27 May 2015

"Fascination" by William Boyd (Hamish Hamilton, 2004)

16 stories. 208 pages. Typically, a hetero-sexual man in a long-distance relationship meets a pretty stranger, and/or a man has a nervous breakdown. There are several artists and no shortage of music, breasts, World Wars in Northern Europe, name-changing and signs.

Stories are often episodic, even fragmentary. "Visions Fugitives" has some sections that are letters, some that supposedly come from tourist guides, etc. It has this passage

I ... shuffle the images that slip into my mind. ... You know those unhindered hours of the night when your thoughts will wander free, sometimes freighted with despair, but sometimes inspired and almost miraculous - this is one of those nights ... We all know these moments of fleeting significance that touch our lives. The great problem, the abiding problem is to make some sense of them ... The bizarre death of John Culpepper in St Julien on 4 November 1918. Brahms's 'Variations on a Theme of Haydn'. Jay turning into Irène. (There's one: she recognized Brahms. What if she had not?) Visions fugitives. Jean-Didier Mavrocordato's decision to film his nouvelle vague masterwork in the small town on the Meuse where my grandfather had died. Irène's misconception that it was filmed near Lausanne provoking our argument. Mavrocordato's suicide

These images are all connected in the story. So? I liked the title story, with sections alternately in the 1st person present and the 2nd person past. "Beulah Berline, an A-Z" has 26 sections, an abcedarian where the last word of each section is echoed in the first word of the next - "cooler/colour", "England/Glands", "teflon/London", etc., the final section ending with "angst", which is how the story begins. "Loose Continuity" has sections in the present tense alternating with sections about the same main character in the past. "The Ghost of a Bird" is in the form of a medical diary. Some of the dialog rings true, but that's about it. I liked "The Mind/Body Problem", which managed to juggle the 2 main themes successfully.

The text isn't lacking literary detail and imagery - e.g. "I felt that I had reached somewhere significant in my life ... A benign sense of ageing, perhaps, of the body clock sounding the hour" (p.39). Some literary passages put me off -

  • "A sudden, stiffish breeze combs the leaves of the willows - their silver under-sides glinting in the sunshine like a flashing shoal of fish darting amongst weeds. Too complicated a simile, he thinks, admiring the graceful, supple willows nonetheless, as they bend and recoil to the invisible urgings of the wind" (p.203). Persona/narrator roles are suddenly being spliced.
  • the start of "Varengeville" - "Oliver frowned darkly and pushed his spectacles back up to the bridge of his nose, taking in his mother's suspiciously bright smile and trying to ignore Lucien's almost sneering, almost leering, grimace of pride and satisfaction",
  • "Oliver allowed himself an audible sigh" (near the end of the same story. It was published in the "New Yorker").

I didn't rate "Notebook No.9". "The Woman on the Beach with a Dog" seemed very inconsequential. Ditto "The View from Yves Hill", "Lunch" ,"Incandescence" and I don't get "The Pigeon".

My workplace features in "A Haunting" - "She had shown my pages of 'automatic writing', as she termed it, to a friend of her, a mathematics don at Cambridge University ... he called back some few days later to say that the sign had been recognized by someone in the engineering department" (p.51).

Other reviews

  • Tim Adams (Observer) (Some of this formal apparatus is tiresome and gets in the way of Boyd's familiar skill with dialogue and detail, his control of comedy. ... Occasionally, the structural playfulness is surprising and leads to unlikely places. ... Often, the tricks look like an effort to galvanise relatively uncoordinated slices of memoir and observation, and to have cleverness stand in place of engagement.)
  • James Urquhart (Independent) (Several of these tales are excellent. "The Mind/Body Problem" ... "The Pigeon" ... "Loose Continuity" is Boyd's best use of two parallel narratives. ... Eyes do reveal much, but I found Boyd's repeated use of eye contact as a motif for unspoken desire a tad cumbersome. Within the intimacy of a short story, where success so often depends on the conviction of the emotional contract, this feels slightly lazy and is perhaps symptomatic of a lack of tautness. More concerning are the stories congested by too many voices or an over-elaborate structure. .. My biggest disquiet about Fascination is that only about a third of the stories are distinctively good. This is not enough. Most are adequate; one ("Beulah Berlin, an A-Z") is just terrible.)
  • David Gates (New York Times) (Often, I simply can't tell how he means these pieces to work ... Several stories rely on what Boyd ... apparently thinks are clever formal gimmicks. ... Nothing in Boyd's story suggests that he's parodying a shopworn device; probably it's just shopworn.)
  • Amy Reiter (Salon) (at points, the frequent soundings of the same themes teeter on the edge of growing tiresome ... Boyd tells the stories of these fellow human beings of varying moral character and tracks their unpredictable behavior. And though he declines to offer explanations and motives, he manages to lead us beyond intuition and past perplexity, until we arrive, finally, at fascination.)