Despite some concerns about how I prioritise my time, I recently allocated several hours to a task that is either brilliantly forward thinking or the biggest waste of time since ironing underwear (not guilty: I struggle even to assemble the ironing board). In the process of editing the short stories in my forthcoming collection, Becoming Someone, I altered the names of a few characters to avoid duplication. So far, so sensible. But I couldn’t leave it at that. I also trawled through my debut novel, Sugar and Snails, my second novel, Underneath, and my current WIP, with the aim of abolishing overlaps across my published work. Is this evidence of a professional approach to my writing or an overly obsessive and perfectionist personality?
I couldn’t resist pairing these recently published, unconventionally structured, debut novels about relationships: their intriguing one-word titles are almost interchangeable, with Alice in Asymmetry magnetically drawn to (and later repulsed by) her much older lover and the mother-daughter relationship explored in Magnetism inherently asymmetrical. My reading experience of both was mixed, strongly engaging with the second halves significantly more than the first. See what you think.
Although these two novels couldn’t be more different in tone – the first a literary exploration of a young mother’s development; the second tricksy thriller – I can’t resist pairing them for the other factors they have in common. Both feature thoughtful, philosophising, unnamed narrators; both take as their subject matter how we explore the inside and outside of other people, and ourselves. Both are ambitious and unusual in their approach; both are the author’s second book and a cracking read.
As 2018 started a few hours earlier in Australia than in the UK, it’s fitting that I should begin my reading year there. Or it could be the coincidence of kindly publicists sending me advance copies of two Australian novels published in the UK this month. The first namechecks various Sydney suburbs, while the second begins near Melbourne before circumnavigating the country. The first contemporary, the second set in the 1950s, they explore the socio-politics of Australian identities and their links to migration and colonialism.
Although I’ve never been sure about novels about writers, I was keen to read these two: the first about an unpublished novelist ghostwriting a memoir and the second about a poet anticipating a different kind of creativity with her first child. Both these fictional writers are brought into close contact with an unexpected other – for the first, the character whose memoir he is writing; the second, another poet who used to live in the town to which she’s recently moved – with life-changing consequences. Both novels explore the nature of the self and the permeability of the boundary with the other (and, incidentally, feature graphic scenes of childbirth). For another novel about a writer, see my review of My Name Is Lucy Barton.
If you like to be scared, Halloween is the time for it, and if you like to be scared by a book, any of these might do. The first two are about houses haunted by their history are described as Gothic horror. The third seems to be going that way, but then veers off into a different kind of disturbance which, for me, provided the richer read.
If it’s irritating for novelists to be told by friends and acquaintances that they too could write a novel if they weren’t so busy doing more important things, then think how it must be for poets. Anyone with even a passing interest in words, or emotions, is likely to have composed a poem at some point, whether inspired by a sense of occasion or adolescent angst. You don’t even need a pen or a keyboard when you can juggle those lines in your head.
Annecdotal is where real life brushes up against the fictional.
Annecdotist is the blogging persona of Anne Goodwin:
slug-slayer, tramper of moors,
author of two novels.
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