The book I’ve read the most this year is Antwerp by Roberto Bolaño. I read a few pages from it every morning before I crawl across the floor to my desk. It’s Bolaño distilled. It’s a crime story, a death story, a sex story, a love story, but always it refuses to pick up its narrative threads. It never binds. Instead it spins out. It is pure expression. I think Bolaño is the most important guide for fiction writers of this era; in fact, he is a kind of spirit-guide—he shows us what we don’t have to do anymore. The note of his perception rings utterly true on every line. And even in translation his sentences have such a glamorous charge to them.
When night falls, I crawl back across the floor, to the fireside, where this year I’ve been mooning constantly over A Writer’s Diary by Virginia Woolf. It is hugely consoling to see the way she constantly twists on the wires of doubt; she is dismayed by doubt at her own ability, on a daily basis, but also she is strangely enraptured by this same doubt—it fortifies her. You can see her thinking: if I’m worried, that means I must be working. She comes across in places as a desperate old snob but she’s of her era, and as often she seems a really gorgeous person. And I’d personally forgive her a murder for prose like this:
Thursday, August 18th 1921 – … and what I wouldn’t give to be coming through Firle woods, dirty and hot, with my nose turned home, every muscle tired and the brain laid up in sweet lavender, so sane and cool, and ripe for the morrow’s task.
Here in Ireland, if the short story doesn’t get an almighty kick up the arse about every five years or so, it tends to melt down into puddles of lyric reverie. Fortunately, this year was a good, spiky and raucous one—there were some fabulous collections, and most of them came from the small, indie Irish presses. Three I admired: The History of Magpies by Desmond Hogan (Lilliput Press), a witness text by one of our finest prose stylists that peels away the layers to reveal the true, contemporary Ireland, in all its melancholy, gaudiness, and shabby grandeur; Levitation by Sean O’Reilly (Stinging Fly Press), a memorable return from a writer of fierce commitment, and a collection that constantly questions the story as form; and Room Little Darker (New Island Press), a miraculous debut from June Caldwell, whose every sentence roars that she is the real, darkly-comic deal.
Finally, it is conceivable that Virgina Woolf is back, and this time she’s a man—Jon McGregor’s Reservoir 13 is a portrait of an English rural community that’s quiet on the surface, measured in its structure, but astonishing in its effect, and his sentences have a truly Woolfian uncanniness and grace to them. It’s an absolutely beautiful novel.
Do you love Year in Reading and the amazing books and arts content that The Millions produces year round? We are asking readers for support to ensure that The Millions can stay vibrant for years to come. Please click here to learn about several simple ways you can support The Millions now.