Faulks on Fagin

In his Faulks on Fiction Faulks picks Fagin as one of his representatives of the character type he designates “villain.” Rightly so. He also observes that it is Fagin who carries Oliver Twist, with which I whole-heartedly concur.

I find it harder to agree with his dogged defence of Dickens in the face of the charges of anti-Semitism which have been, inevitably, levelled against the Victorian writer as a result of his ‘Jewish’ villain. Why did he make Fagin Jewish? Faulks argues that Dickens gives Fagin no characteristics that we would associate with Jewish stereotypes, negative or otherwise. Fagin is not characterised with reference to religious or cultural observance. The label “Jew” is therefore just that, a useful identifier which adds a little colour.
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Gravity’s Rainbow Rides Out

From the team who brought us 2666, Ulysses and Moby Dick

Infinite Zombies proudly present: Gravity’s Rainbow.

So. Any one up for a behemoth?

This would not be my first attempt at a read-along of Gravity’s Rainbow, and to the Pynchon purist I can only apologise. My motives are compounded ten percent optimism and ninety percent bloody-mindedness, and Pynchon for Pynchon’s sake is lost somewhere in the mix. The optimism dervies from Zombies driven success with the three titles listed at the top of this post. The bloody-mindedness? Well, that’s just me.

Daryl proposes the first eighty pages and a first post for 27th Feb, so if that sounds like a good time for you and you fit one of the two pertinent categories; Pynchon enthusiast or reader with masochistic tendencies; then clear twelve weeks in your diary and head over to Infinite Zombies to sign up.

Pistache – Sebastian Faulks


pistache, pis-tash n. a friendly spoof or parody of another’s work. [Deriv uncertain. Possibly a cross between pastiche and p**stake.]

I once picked up an According to Spike Milligan. The subsequent strong urge to wash my hands, repeatedly, was almost irresistible. Should anyone be so rash as to emulate my careless action I suggest protective gloves at the very least, preferably a full hazmat suit. Introducing profanity, reproductive parts and lavatorial reference does not a pastiche or piss-take make.

But to Faulks. Faulks may insert those things without fear of reproof because he is true to the style of his target, and allows that to dictate what may or may not be said. And in so far as he covers writers with whom I am familiar, he never misses his shot. When Martin Amis sends his lad to Hogwarts and Samuel Pepys still loves London life profanity and body parts are par for the course. And then there is Chaucer. This is how Faulks, perfectly innocently, slips in a frowned upon word:
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Adolphe – Benjamin Constant

Adolphe is a little French curiosity from the early nineteenth century, a cautionary tale, painfully trying to get to grips with some kind of meaningful morality.

The protagonist Adolphe will bring his passion to bear on an older woman, causing a love in her which he cannot match in either intensity or longevity. Early in the novel Adolphe makes several statements which suggest an intellect which exceeds his capacity for feeling, a principled disregard for dogma, be it social or religious, and a contempt for the unwitting hypocrisy of those who attempt to accommodate their failings within convention.
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How Novels Work – John Mullan

The title sets out Mullan’s intentions with admirable brevity, and there are some useful endorsements within the front cover which give a clue to his method.

“[...] above all communicated in plain English”

“Mullan is willing to go where other academics do not usually deign to tread”

It is also worth noting that the book is drawn from articles originally written for his column in The Guardian, although “completely rewritten”. Mullan has rearranged articles by topic where they were originally ordered by novel. Finally, it is perhaps significant that he acknowledges his wife’s recommendations of fictional examples* which, she will, he says, find “masquerading as [his] own.”

I don’t know if my slightly negative reaction to this book is coming across yet, but yes, I did have some problems with it. Critics seem oddly liable to attract the rough side of my critical tongue. Which is not so much irony as justice, really.
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Zennor in Darkness – Helen Dunmore

So. Just what is the point of DH Lawrence?

His writing I admire, but as a character in Dunmore’s barely biographical novel he amounts to a weak sub-plot and a denouement in which credibility is twisted into travesty in order to capitalise on Lawrencian history.

Zennor in Darkness is set in coastal Cornwall during the First World War, circa 1917. The protagonist is Clare, half-Cornish, half-gentry. Young men are being conscripted, and killed, and feelings run high. For Lawrence, a stranger with a German wife, times are bad for any number of reasons.
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Not a Rat’s Chance in Hell Challenge – Wrap Up

The reasons for eschewing challenges this year (and henceforth) are two-fold. 1) Being always too much in the (reading) moment to pursue objectives in any more than an incidental way and 2) I am far too lazy to finish the job (let alone catalogue en route.)

But with the Rat in Hell thing I am almost shamed into it. Many (several) readers were kind enough to be amused by the concept, but there was one in particular who undertook the challenge with enthusiasm and imagination. You can find Emma’s excellent list here.

Here’s my (just slightly retrofitted) offering:
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Pastoralia – George Saunders

The title story of this short story collection is set in an American theme park, where the residential employees play the part of living exhibits. The protagonist is a Neanderthal, complete with a stick-on prosthetic brow, who spends his working hours grunting, scratching and hunting pretend bugs, before retiring for the night to the spartan Separate Quarters at the back of the Neanderthal cave mock-up, where he is required to file a Daily Partner Performance Evaluation on his female co-worker.
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