Lists

What lists of our greatest novels get wrong

‘Where are all my favourite parts?’ Arnold Schoenberg asked, on being presented with a severe academic analysis of the Eroica symphony. ‘Oh, there they are. In the tiny notes.’ The tendency of many people, presented with the overwhelming abundance of an art form, is to exclude as much as possible. Reduce the wonderful life of incidental invention to the tiny notes; erect walls excluding the fascinating curiosity, the eccentric, the madly idiosyncratic. Produce a list of the 100 Best Books, sticking to declared Greatness. People have been producing lists of the Best Books for a hell of a long time. When copyright law was reformed in 1774, it enabled publishers to produce collections of novels for the first time.

Why does anyone still rate Vertigo and its creepy, wonky plot?

Here’s something that may interest you. Or not. (Could go either way.) I was looking over Sight & Sound’s ‘100 Greatest Films of All Time’, which has Alfred Hitchcock’s Vertigo (1958) at number one, having knocked Citizen Kane from the top spot in 2012. (That film always did need a more exciting reveal; would it have helped if Rosebud had turned out to be a massive fireball or dinosaur egg?) But back to Vertigo, which is now the best film ever made. Really? That worried away at me. Who rates this film and why? The storytelling isn’t up to much. It drags and drags. (The first half is a dull schlep around San Francisco as we follow the world’s most obvious stalker.) It’s riddled with plot holes. It’s creepy, but not in a good way.