Nicholas Lezard

Public readings by James Ellroy would tend to begin like this: Good evening, peepers, prowlers, pederasts, panty sniffers, punks and pimps. I’m James Ellroy, demon dog of American literature, the foul owl with the death growl, the white night of the far right, and the slick trick with the donkey dick. My books are written in blood, seminal fluid and napalm. Etcetera. This is his ‘demon dog’ persona, adopted many years before as a way of overcoming his native insecurities. At school, Ellroy adopted a persona whose main shtick was expressing a fondness for far-right politics He is quoted in this biography as saying that this persona is ‘about 3 per cent’ of who he is. I would say, and I choose the adjective carefully, this is a conservative estimate.

It is Hollywood, in perpetual summer, and Ludwig Bemelmans has driven past some unusually well-groomed eucalyptus trees for a meeting with Elsie de Wolfe, Lady Mendl, interior decorator to the stars. In her salon is a footstool that once belonged to Madame de Pompadour. Lady Mendl’s husband comes into the room and trips over the stool. ‘My God, he’s dead,’ says Lady Mendl. He isn’t, of course. He’s the classic English booby beloved by Hollywood, so is immortal. Death hangs over this book in a way I’ll return to later, but at this point it’s mainly because Lady Mendl is old, old. 80? 90? No one knows for certain. But she has a force for life which is close to insanity. Everyone here is mad in one way or another.

This is a short book, but it carries a punch, as does its subject, the exclamation mark – or shriek, or bang, as it is occasionally and graphically called. I use the word ‘graphically’ advisedly, for the punctuation mark falls into an ambiguous territory overlapping orthography and illustration. I say to myself that I don’t like it, but I do on occasion. I recently used it to describe the noise of my horrible doorbell (‘BZZZT!’) to convey the sensation of panic that occurs when I hear it. I also love it when the speech bubble above a cartoon character’s head contains nothing but an exclamation mark: pure surprise. My favourite example is in Snoopy’s case, for often his ears also stand up like exclamation marks themselves.

Ten years ago Shehan Karunatilaka’s first novel, Chinaman, was published and I raved about it, as did many others. Set in the 1980s, it intertwined the stories of a vanished, forgotten cricketer who was able to bowl unplayable deliveries and the particularly brutal war that was ravaging Sri Lanka. My review ended with the words: ‘Karunatilaka is, I gather, writing another novel, but how it can be as good as this I can hardly imagine.’ We now have that novel, and I was right: it isn’t as good. Which is not to say it’s bad. In fact, there are parts of its design and telling that are very good indeed. But I had problems with it, as you will see. We are in 1990, and Sri Lanka is as dangerous a place is it was in Chinaman, and in reality.

I have never had much time for Aleister Crowley. Magic(k) is nonsense; the mystical societies he founded were simply pretexts for him to take as many drugs and have as much sex as he could. And he was a second-rate writer at best. When the novelist Arthur Calder-Marshall said he had gone ‘from Great Beast to Great Bore’, I thought it a fair summing-up. Crowley initiates were some of the dodgiest people in the western world – either frauds or hucksters themselves or the most gullible of fools. There was always the matter of his self-reinvention. Aleister Crowley was not christened thus: he changed his first name because he thought that a dactyl followed by a spondee conferred the greatest chance of becoming famous. (I cannot say it has done me any favours.

What do you do when you pass someone sleeping or begging in the street? I’ll tell you what I do: pretty much the bare minimum to appease my conscience. Pound coins distributed, some names asked for and learned, sandwiches and snacks for those outside supermarkets (Müller Corners and bottles of chocolate milk particular favourites). After reading this book I realise there is rather a lot more I could be doing. And indeed a lot more others, particularly the government, could be considering. Here is how Christina Lamb describes what Mike Matthews, owner of the historic Prince Rupert Hotel in Shrewsbury, was doing a few years before the pandemic struck: He couldn’t help remembering...

I can’t recall reading an angrier book than this. Richard Beard has written what I hope for his sake is a cathartic denunciation of the private boarding school system, and his rage is on two fronts. The first is how being sent away at the age of eight damaged and twisted him and just about everyone else who experienced the same; the second is about what these damaged children as adults have done to the country. He pays special attention to the Prime Minister and his predecessor but one. I suspect that The Spectator has quite a few readers who went to boarding school, and who even think the government is doing a good job. So you may either have given up on this review already or will have no intention of reading the book.

Inside Story is called, on the front cover, which boasts a very charming photograph of the author and Christopher Hitchens, a novel. It also has a good and comprehensive (14-page) index. I’ve been a book reviewer for 35 years and I’ve lost count of the number of times I have wished, professionally, for larger novels to have an index; but I’m not sure I can remember seeing one before. A non-facetious one, that is. This index is very much non-facetious. Novel or not, then? I’ll try to get rid of this question as quickly as possible, but it has to be addressed (as I write these words, I have a feeling most of this review will be taken up with this, one way or another).

This book could not have been published at a better time — nor, in a way, at a worse time. Better, because we are now living with the threat of disaster looming over us and society is being radically transformed; worse, because the apocalyptic scenarios Mark O’Connell writes about include such quaint, marginal topics as catastrophic climate change, nuclear devastation and the concern of ‘preppers’. These are the men who build bunkers in the countryside and fill them with enough tins of protein sludge to keep them going through whatever unspecified calamity brings about the end of the rule of law. There’s not a great deal here about a global pandemic. That said, there doesn’t have to be.

Negativity has a power over us. You know how it is. One bad thing can ruin your whole day, even if the day has been otherwise full of good or non-bad things. Infants react more quickly to an image of a snake than a frog, or unhappy or angry faces than happy ones. Then again, I reacted more strongly to Roy E. Baumeister’s face on the back flap of the book than I did to John Tierney’s, because Baumeister has a beard and a broad grin that suggests high self-esteem. And why not? He’s written or co-written more than a dozen books (first title, Meanings of Life) while Tierney has written only three. The aim of the book is to get us to compensate for the brain’s natural reaction to see the worst in everything.

Towards the end of Live a Little, one of its two main characters says: ‘I’m past the age of waiting for something to go wrong. It already has.’ And we know what has, because some 200 pages earlier we have seen the man as a young boy, just before the second world war, pulling his mother’s underwear out of the laundry basket. Here is how the moment, and its repercussions, are described: ‘He climbed into his mother’s bloomers and tumbled into hell.’ Let’s pause to consider the comic elegance and precision of that sentence.

On the one hand, I am supremely qualified to review this book. In 1984, bored beyond endurance after graduating with one of those degrees that leaves you both over- and under-qualified for employment, I decided to take my dole money down to the Coach and Horses pub in Soho, where this magazine’s Jeffrey Bernard held court, and pay my respects to him, for I liked his prose style and his stories. I stayed there for three years or more, a postgraduate course in itself, only packing my bags at the end of 1987 when I met the woman who was to become my wife.

It is tempting to compare two highly intelligent, learned and gifted young Dublin writers, suffering under the burdensome, Oedipal influence of James Joyce, struggling to have their first novels published in the late 1930s. Samuel Beckett’s Murphy, whose central character is an extremely idiosyncratic young man in the grip of profound indolence, was published in 1938; Flann O’Brien’s At Swim-Two-Birds, whose central character is an extremely idiosyncratic young man etc., in 1939.

I wonder what your idea of a good novel is. Does it embody the attributes of solid plotting, characterisation and an impermeable membrane between invention and reality — the novel, that is, being a box from which nothing can leap out, and into which nothing, except what the author has chosen to put there, can leap in? And does it conform to the conventions laid down by the great writers of the 19th century? That’s what I assumed, during my schooldays; and the little that had filtered down to me of Don Quixote, which is claimed by many to be the ‘first’ novel, did not alert me to the fact that it was anything more than a story. As opposed to — to put it very simply indeed — a story about stories.

About a third of the way through this book I worked out that I had an unbeatable system for winning at the horses. All I would need was a degree in mathematics, or access to someone who has one, a lot of research on horses, jockeys and racecourses under my belt, including inside knowledge, and a little seed money. Say, £100,000. Two thirds of the way through I realised I would also need some links to organised crime, and if I didn’t have any, they would be furnished for me, whether I wanted them or not. By the end of the book I reverted to my original opinion: that it is not for the likes of me.

Here is the opening sentence of Karl Ove Knausgaard’s meditation on beds.: With its four legs and its flat, soft surface, the bed gently accommodates one of our most basic needs: it is good to lie down in bed, and it is good to sleep in them through the night. Well, you learn something every day. Actually you do, if you are very young, or at least you are meant to. For this is one of Knausgaard’s letters to his unborn daughter, and he’s written one book for each season, 20 letters per month, for her to be able to see the world, or for Knausgaard to see it again, anew. It is a mission freighted with honourable intent.