Will Self has written a review of Private Eye: The First 50 Years by Adam Macqueen in the Guardian here.
Granta 117: Blood
‘Some time over the winter of 2010-11 I began to be gorged with blood – or, rather, my blood itself began to be gorged with red blood cells, with haemoglobin. I didn’t pay it much attention – mostly because I didn’t realise it was happening, the only perceptible symptoms being a certain livid tinge to my face and to my hands, which, I joked to family and friends, had started to resemble those pink Marigold washing-up gloves. When I took my gorged hands out of my jeans pockets the tight denim hems left equally vivid bands smeared across their backs – these, I facetiously observed, were the colour of those yellow Marigold washing-up gloves.
‘I had no intention of doing anything about my pink-and-yellow striped hands. This is not, I stress, because I’m especially neglectful of my health – at times I can verge on hypochondria – but rather because they didn’t strike me as obviously cancerous. I was on the lookout for the crab – but then I always am. It scuttled away my father and mother, the latter at 65, an age she would’ve described herself – also facetiously – as “getting younger”. And during the preceding year it had been nipping at my 47-year-old wife, trying to drag her down the sable strand and into the salt, chill waters that lap against life. She had been diagnosed with breast cancer in June 2010, had a mastectomy in August, followed by a gruelling autumn then winter of chemotherapy and a silent spring of radiation.
‘My wife bore her illness in a manner that demanded nothing but admiration. As we walked down the grotty staircase of Guy’s Hospital Tower from the consultation where she’d been informed of how radical her surgery would need to be, she turned to me and said: “I’m so lucky. If it was 25 years ago, or I was somewhere else in the world, I’d’ve just received a death sentence.” I was less sanguine – metaphorically speaking. I felt distracted and doomy; I was a dilatory carer – and at times seemingly wilfully inept. I could just about manage the basics: the feeding and dressing of our two younger children, and the forcing upon her of increasingly unwanted cups of tea.
‘It didn’t help that we seemed to be at the centre of a cancer cluster: one friend was dying of leukaemia in Hammersmith hospital, another was in the process of being diagnosed, a third had had half his throat and jaw chopped out. I fully expected cancer myself. To paraphrase the late and greatly pathetic roué Willie Donaldson, you cannot live as I have and not end up with cancer. There was the genetic factor to begin with, and then there’s been the toxic landscape of carcinogens – the yards of liquor, the sooty furlongs left behind by chased heroin, the miles driven and limped for over a decade to score crack which then scoured its way into my lungs. The prosaically giant haystacks of Virginia tobacco hardly bear mentioning – being, in contrast, merely bucolic.
‘No, I was on the lookout for the crab – not a pair of lobster’s claws. It was my wife who eventually sent me across the road to the GP, a shrewdly downbeat practitioner who in the past had declined to check my cholesterol levels or send me for a prostate-cancer biopsy, but now took one look at the human-into-crustacean transmogrification and sent me straight down to St Thomas’s for a blood test. The results came within a couple of days, and when I saw him in person he confirmed what he’d told me over the phone: “Your haemoglobin is right up, and your white blood cell count is also elevated. I can’t be certain but I think there’s a strong possibility it’s …”
‘I pre-empted him: “Polycythaemia vera?”
‘”Aha,” he said. “Been googling, have you?”
‘I conceded that I had.
‘”Well,'” he continued, “the Wiki entries are pretty thoroughly vetted – if you stick to that you’re on safe ground.”‘
Read the rest of Will Self’s Granta 117: Horror article at the Guardian here.
Symphony and the novel
‘The high arts of literature and music stand in a curious relationship to one another, at once securely comfortable and deeply uneasy – rather like a long-term marriage. At the securely comfortable end of the emotional spectrum we have those zeniths of song, the German lieder tradition, and high opera. In the best examples of both forms words and music appear utterly and indissolubly comingled. However, at the other end of this spectrum we have those kinds of music that attempt to be literary – so-called programme music – and those forms of literature that attempt, either through descriptive representation or emulation, to aspire to the condition of music. It is not my wish to denigrate works of these type, nevertheless there does seem to me to be an inevitable compromise – deterioration even – when an art form, rather than proceeding entirely sui generis, finds its ground in another form’s practice.
‘I myself am a latecomer to the serious appreciation of serious music – apart from jazz, which in the hands of practitioners such as John Coltrane or Thelonious Monk rises to the inventive musicianship and self-enclosed expressiveness of the greatest that small-ensemble classical music has to offer. Still, there comes a point in everyone’s life when it’s time to largely put away such childish things as electric guitars and harmonicas, and it may be precisely because I was in my 40s when I began to really hear symphonic music that I have approached the form altogether untrammelled by received ideas about it – a fancy way of admitting complete ignorance. There’s this, and there was also an intuition I had that my own practice as a novelist – when, that is, my mojo was properly working – had far more in common with how composers conceive of the symphonic, than it did with the lit-crit – let alone the “creative writing” – view of how it is writers actually write.’
Read the rest of Will Self’s piece for the Guardian on the symphony and the novel here, ahead of his talk at Kings Place in London this Saturday. Details here.
A new short story, iAnna
“Dr Shiva Mukti, a psychiatrist at St Mungo’s, a small and down-at-heel general hospital situated – rather bizarrely – in the dusty pit left behind when the Middlesex Hospital was demolished in the spring of 2008, had, through various serpentine manipulations, got hold of his senior colleague Dr Zack Busner’s mobile phone number, and this he proceeded to call: ‘Who is it?’ Busner snapped. He was lying naked on his bed in the bedroom of the grotty first-floor flat he had recently rented on Fortess Road in Kentish Town above an insurance broker’s. His phone had been balanced on the apex of his sweat-slicked tumulus of a belly, and when it rang it slid down, slaloming expertly through his cleavage, bounced off his clavicle and hit him full in his froggy mouth. Mukti identified himself and explained why he was calling. Busner responded disjointedly: ‘Yes … oh, yes … Yes, I remember you – no, no I’m not. No – I’m not inter- For heaven’s sake, man, I’m retired, I don’t want to examine your patient no matter how novel her symptoms may be … What’s that? Not the first, you say – something of an emerging pattern …?
“It was too late – the older psychiatrist had allowed himself to be hooked, rocking then rolling off the bed he stood with the phone caught in the corner of his mouth. Then the call pulled him into his clothes, out the door, down the stairs (through the wall he heard things like: ‘Third party in Chesham, John?’ and ‘Better try Aviva …’), out the front door, down the road to the tube, down the escalator, through the grimy piping and up another escalator, until he found himself, landed and gasping below a flaking stucco portico beside a billboard picturing computer-generated luxury flats, 1,800 of them.”
Read the rest of Will Self’s brand new short story, iAnna, commissioned by the Guardian to mark the 10th anniversary of 9/11, here.
Honey Money: The Power of Erotic Capital
‘In a typically razor-sharp exchange of dialogue that establishes – yet again – that The Simpsons provides the most coruscating illumination of contemporary mores, Lisa says to her grade-school teacher that “Good looks don’t really matter”, to which Ms Hoover replies: “Nonsense, that’s just something ugly people tell their children.” Stripping away the layers of irony from this statement we can reveal the central premise of Catherine Hakim’s book, which is that not only do looks matter, but that they should matter a great deal more.
Furthermore, the people who tell young people – and in particular young women – that their beauty and sex appeal are of little importance are themselves ugly, if not physically then at least morally. For, as Hakim sees it, it is an “unholy alliance” of wannabe patriarchs, religious fundamentalists and radical feminists who have – in Anglo-Saxon countries especially – acted to devalue what she terms “erotic capital”. In Hakim’s estimation, for all young women, and in particular those who are without other benefits – financial, intellectual, situational – an entirely legitimate form of self-advancement should consist in their getting the best out of – if you’ll forgive the pun – their assets.’
Read the rest of Will Self’s review of Honey Money in the Guardian Review here.
The media’s tectonic shift
“If the events of the past week seem on the surface to be about systemic corruption in British public life then there is also an ulterior process at work. Strange as it may be to state this, the unholy triple alliance between media, the political class and the police may be characterised as a merely epiphenomenal imbroglio. It’s been widely noted that the News of the World, despite being Britain’s largest circulation newspaper, was nonetheless something of a loss leader for News International in an era when not just hard news but also the kind of malicious tittle-tattle that was its stock in trade has been speedily uploaded on to the web.
“A tectonic shift is taking place in our culture, namely the transition from a print/broadcast era in which information, opinion and entertainment is transmitted down a pyramidal social structure, to a pro forma egalitarian web culture in which there is no longer the mediation of a class of editors and opinion-formers, but instead everyone swims about in a protoplasmic gloop of titillating supposition. Marshall McLuhan’s equation of the medium with the message has become a shibboleth to be lisped on a thousand thousand message boards, but less widely understood is that the “glocal” phenomenon of the web plus the internet has yet to crystallise into a definable medium – we live in an interregnum between cultural hegemonies, and in such times, as Marx observed of political interregnums, the strangest forms will arise.”
Read the rest of Will Self’s Guardian column here.
My most memorable holiday read
From the Guardian Review, in which writers recall their most memorable holiday reads. Here’s Will Self’s:
“When I was 18 I took a bus to Lisbon – you used to do that back in the day. Magic Bus from a dusty parking lot next to Gloucester Road tube – I think it cost £25. I had an army surplus kitbag, some hash stashed inside a toothpaste tube – you picked apart the end of the tube with plyers, shoved in the dope, then rolled it up as if it was half used – and John Fowles’s The Magus. I’d liked Fowles’s other books (The French Lieutenant’s Woman, The Collector, and so on), while not exactly viewing them as belonging to the literary bon ton – more, I suppose, what would nowadays be called a “guilty pleasure”. Anyway, the bus, for those of us of extended height, was waaay uncomfortable – but the Fowles did its job of nullifying the bumps and bashes.
“I can’t remember that much about it, except that it was all about some young, romantic, sex-obsessed man and how his cruel and feckless treatment of a lovely girl – in the Father Ted sense – was punished by the eponymous Magus with a series of real-life psycho-dramas staged in the Cyclades. It was – if I remember rightly – one of those books with huge narrative pulsion, and I couldn’t stop reading. I read to the Channel, I read on the ferry, I read south on the autoroute, I read through the Pyrenees, I read through Spain. I arrived in Lisbon and read all night in a fleapit hotel. I entrained for the south and read on the train. I arrived at the Algarve and walked along a cliff, reading. I got the toothpaste tube out, unrolled it, got out the hash, skinned up, lit up, and finished the book on a high that then plummeted. There I was: not in the Cyclades being punished for sexual amorality, but in Portugal being approached by a German hippy for a toke. A German hippy who then strummed “Stairway to Heaven” on his guitar and suggested I sing along.”
The Psychopath Test
Read Will Self’s review of Jon Ronson’s The Psychopath Test in the Guardian here.
Creative writing course? Get a job instead
“I’m still not convinced creative writing can be taught. Perhaps you can take a mediocre novelist and make them into a slightly better one, but a course can’t make someone into a good writer. Ian McEwan and Kazuo Ishiguru both did the UEA MA, but they were both innately good anyway. Some people swear by creative-writing courses. I say, go and get a job, a fairly menial one, instead. Otherwise, what are you going to write about? Writing is about expressing something new and exploring the form in new ways. So unless you want to churn out thrillers or misery memoirs, you can’t work from a pattern book. You need to autodidact.”
Read the rest of the Guardian’s article here.
A review of Lewis Wolpert’s You’re Looking Well
“A couple of weeks ago I spoke at a seminar on ageing and fiction at Brunel University. My interlocutor was Fay Weldon, who in her 80th year is not only still writing herself, but also holds the chair in creative writing at Brunel. I’m not sure we had anything that insightful to say on the subject, but the audience seemed entertained. I hesitate to ascribe to Weldon the wisdom of the aged – because, inasmuch as she is weightily wise, she always leavens this with a wickedly dry wit; and besides, she seemed exactly the same to me as the first time I met her, which must have been 15 years ago, when she was a mere stripling of 65.
“No, what struck me about the seminar was that when the discussion was thrown open to the audience – the vast majority of whom had either grey or white hair – we were asked whether or not we felt it was the responsibility of contemporary writers to present a positive depiction of old age. I demurred – and so did Weldon: both of us thought the character made their own weather, for good or ill. To purposely concoct older characters of a sunny disposition would be as much of a solecism as deliberately fabricating arrhythmic blacks, spendthrift Jews, slacker Japanese and so on. These replies didn’t satisfy the questioner, who seemed to feel that such was the extent and depth of ageism any means of combating it had to be considered.
“Having now read Lewis Wolpert’s chilling little book on old age You’re Looking Very Well, I’m more inclined to agree with the snowy owls of Brunel. Of course, I knew ageism existed, and Wolpert’s mournful catalogue of the abuses and depredations to which many of the elderly are subjected – neglected in care homes, denied adequate medical treatment, effectively denied benefits by Kafkaesque bureaucracy, lost in the atemporal fugue of Alzheimer’s – wasn’t unfamiliar; but there was something salutary about seeing it put down in cold print – seeing it clearly through the reading glasses I now wear since, a year or two ago, my age-related macular degeneration got under way.”
Read the rest of Will Self’s review of You’re Looking Well from Guardian Review here.
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