Category Archives: Man Booker Prize
I tried, I really tried to read all the way to the end of How Late It Was How Late. I made it, but it was incredibly hard going and several times I was ready to throw in the towel.
The issue wasn’t the rawness of the text. After a time I simply became immured to the frequency with which James Kelman used the F word. In case you’re interested, some columnists did a count and got to 4,000 instances. In my edition that equates to ten uses per page….
I even got used to the strong Glaswegian dialect used by his central character, a habitual drunk and petty criminal called Sammy Samuels. I kept imagining I was hearing Billy Connolly in one of his rants…
Here’s a typical passage that will give you a flavour of the style of this book. Any oddities are not of my making – it’s just the way the book is written. This snippet comes from early in the novel where Sammy, having woken up in an alley after a two-day drinking binge gets into a fight with some soldiers. Taken into police custody he’s so badly beaten he becomes blind.
He didnay even know what day it was. Jesus. The big mouth man he always had to blab. If that was him for another night
Jesus christ. She would be really worried now. He aye had to blab. How come he aye had to blab! Just stupit. Stupit. She would be worrying. Doesnay matter the situation, how it was, that was past tense, she would worry. Cause he had nay place to go and she knew it. Ye’re talking from whenever it was the now back to last Friday morning man that’s how long it was; four maybe five days, including the Saturday. Fucking Saturday! Saturday was a blank. A blank.
Confused? Don’t worry, you’re not the only one. The ‘she’ in the passage turns out to be a woman called Helen with whom he’s been living. But when he eventually gets back to the flat she’s disappeared. Where and why, we don’t know. Half the time even Sammy doesn’t really have a clue what’s going on.
Bleak and Bizarre
For a book that deals with someone already in the dregs of society whose life suddenly turns much worse when he is blinded, How Late It Was, How Late is understandably dark. But it can also be quite funny in a black comedy kind of way.
Sammy for example cobbles together a kind of walking stick so he can tap his way along the streets. Then he realises it needs to be painted white. No problem, he has plenty of paint in his flat. Just one issue remains – how will he know which can is white?
Sammy bizarrely doesn’t seem all that fazed by his blindness initially. He just thinks it’s weird, an ‘initial wee flurry of excitement but no what ye would call panic-stations.” He’s more concerned about the fact someone stole his new leather shoes while he was in his drunken stupor, leaving him with badly fitting cheap trainers.
He’s remarkably philosophical about his run ins with the police – he’s clearly been down that road before and knows the score. But when he tries to get some disability compensation for his blindness he enters an unknown world of absurdity and obfuscation in the form of the welfare system. All he wants to do is claim some money so he can buy food but instead he gets a lecture on ‘Dysfunctional Benefits’ and ‘Community Gratuity’. And ends up empty handed except for a warning about making false statements alleging police violence
Flashes of humour didn’t however provide enough compensation for the fact that for most of the time I found the book was a slog. Page after page of stream of consciousness, interrupted occasionally by a strange third person voice, but without the
Condemned By Critics
I didn’t dislike it as intensely however as some of the critics who castigated How Late It Was How Late when it was published and was named as the Booker Prize winner in 1994..
Simon Jenkins, The Times columnist, for example described Kelman as “illiterate savage” who had done no more than “transcribe the rambling thoughts of a blind Glaswegian drunk”. One of the Booker Prize judges, Rabbi Julia Neuberger, declared that the book was unreadably bad and said that the awarding of the prize, Britain’s most important, was a “disgrace.”
Kelman hit back in his acceptance speech at the Booker awards ceremony. “… my culture and my language have the right to exist and no one has the authority to dismiss that… A fine line can exist between elitism and racism. On matters concerning language and culture, the distance can sometimes cease to exist altogether.”
He has a good point. No author should feel stifled because of an elitist view of what is ‘correct’ or ‘appropriate’ language. Kelman is writing from his own experience, of the people he saw around him while growing up on a housing estate in Glasgow. It’s a city notorious for straight talking, hard living and dark humour. Did the critics seriously expect Kelman to have a central figure who uses Queen’s English or received pronunciation?
I didn’t enjoy How Late It Was How Late, but neither did I feel it deserved the level of criticism levied at Kelman. It’s not a book to everyone’s taste but he has to be admired for his boldness and ingenuity.
Saville by David Storey
I reached the end of David Storey’s Booker Prize winning novel Saville with an enormous sense of relief.
No longer would my evenings be marred by having to plod through this jaw-droppingly tedious tale.
I don’t understand why I didn’t give up on it well before the end since there are only so many pages of over-written scenes, mediocre dialogue and scrappy characterisation I can take.
This had all three in abundance over the course of its 500 plus pages. It also had a protagonist about whom I cared not one jot. The best part came in the opening few scenes where a miner and his new wife arrive in some northern colliery town and spend the day cleaning their meagre little home.
After that it was downhill all the way.
Working Class Struggle
Saville is a tale of a boy from a South Yorkshire mining family in the late 1930s. Colin Saville manages to win a scholarship for grammar school; plays sport, has a few run ins with the teacher and meets a few girls. Instead of university he opts for the faster track of teacher training so he can begin earning some money to keep his parents and two brothers just above the poverty line. But he feels constrained by his home and his upbringing; taking his frustrations out on his siblings.
By the time he decides what to do with his life, we’re at the end of the book and by then – frankly – I simply didn’t care.
Desperately Hoping Something Will Happen
Colin Saville just isn’t portrayed in a way that makes me want to take any interest. There’s never any sense of the inner turmoil he supposedly feels in reaction to some of the events that happen to him. Even when his fiancé ditches him for a more wealthy friend, he seems to react as if someone has just told him the number 6 bus left 30 minutes ago. Having the story relayed through an omniscient narrator doesn’t help.
But I also just kept waiting for something – anything– to happen that would lift the story from the realms of the mediocre.
I was still waiting when I reached the end.
According to one retrospective critical review, Storey’s work mixes realism with psychological extremism. I must have been asleep during those chapters because those elements completely escaped my attention.
If ever there was a book that needed a bit fat blue editor’s pencil to walk all over it, this one was it…..even a scene that according to James Campbell in the Guardian is one of the most memorable (when his friend Stafford visits his home and is treated to a tea of bread, butter and tinned fruit) felt over-written.
This has to be the most deadly dull of all the Booker Prize winners I’ve read. How Saville won the Booker Prize in 1976, I’m at a loss to understand.
Alternative views of Saville
I was curious what some literary experts and reviewers thought of this book.
The reaction at the time of publication was surprisingly enthusiastic.
Jeremy Brooks at the Sunday Times said that reading Saville “is like drinking pure spring water from cupped hands”.
It has no false notes, no heaviness of emphasis, no editorial manipulations of plot to prove a point. One becomes so totally involved in the lives of these people that their every word and action becomes charged with meaning…. Reminiscent of a nineteenth-century classic.’ –
His counterpart at The Times newspaper also gave it a rave review, calling it “mesmerically readable, Saville is a revelation.” The Sunday Telegraph declared Saville to be “A feast of a book.”
I started to wonder whether this is a novel that resonated in the 1970s but no longer spoke to a twenty-first century reader but so few reviews have been written about Saville in recent years that I can’t answer that question.
All I found was that in 2008 Sam Jordison at The Guardian ( a reviewer I admire) thought Saville was a “class act”. He was so completely immersed in the book that he felt he was parting from a friend when he reached the end.
When David Storey died in 2017 many of the obituaries described him as a great post- war novelist whose raw, realist plays and novels dealt with the north-south divide and family conflict.
I seem to be a lone voice…..
This review appeared originally in 2012. This is an update – the content is substantially the same but I have added sub headings to make it easier to read.
There were a number of Booker Prize winning novels I read before I began this blog and my project to work my way through all the winners. As I’m approaching the end of that project I thought I’d write some short reviews of those pre-blog books.
I seldom re-read contemporary fiction (I don’t know why, but the classics seem to lend them selves far more to re-reading. ) But these are three that I would definitely consider reading a second time.
The Sense Of An Ending by Julian Barnes
This 2011 Booker Prize winner was my first experience of Julian Barnes .
It’s a slim novel, beautifully paced and very readable yet it gets you thinking about some of the issues well after you reachthe last page.
The Sense of an Ending is narrated by Tony Webster, a retired man of around 60 years old. He reflects on his life and in particular his relationship with Adrian Finn, a boy he met at school. Adrian was the most intellectually advanced and gifted boy in his coterie.
But a rather odd girl called Veronica comes between them. Tony takes her defection to Adrian badly, heaping curses upon the pair. And then he learns Adrian has killed himself.
Years later Adrian’s diary is bequeathed to Tony. He believes it will unlock the mystery of why Adrian died. But first he will have to do battle with Veronica.
This is very much a reflective novel about a man who is trying to make sense of his life. His frustrations and anger come to the fore but so too does regret and his feeling of being on the fringe of life. “You just don’t get it. You never will.” is the barb Veronica most frequently throws at him. Tony does have a selective memory however and even by the end you feel that he is still a puzzle to himself.
The Sense of an Ending is a compact novel which meditates on the complexity of the human struggle to deal with regret and loss.
The Blind Assassin by Margaret Atwood
Until I read this 2000 Booker Prize winner, my only experience with Margaret Atwood was through The Handmaids’ Tale. Although there is a sci fi aspect to The Blind Assassin, it couldn’t have been more different.
It has a complicated structure with three plot strands and multiple time frames.
The over-arching device is that this book is the memoir of Iris Chase, from her beginning as the daughter of a prosperous family, through a loveless marriage and into solitary and brooding old age. As she nears the end of her life she is determined to set down her version of the stories and scandals that have long swirled around her and her family.
Her younger sister Laura killed herself in 1945, 10 days after the end of the war. Iris published her sister’s novel The Blind Assassin posthumously. a decision which propelled Laura to fame but Iris to a life of isolation.
Interposed with Iris’s reminiscences are passages from that novel, about an upper-class married woman and her lover, a hack writer and a political radical, who spins a science fiction tale (also entitled The Blind Assassin) during their clandestine meetings.
Confused?? It’s not surprising.
Reading this novel is a giddy experience. We get Iris’ narrative, Laura’s novel, extracts from the pulp science-fiction stories the hero of Laura’s book tells his lover and newspaper reports on events.
In the hands of a less able novelist, this mix of narrative forms would be a mess. But Atwood handles it with authority and aplomb. It’s quite an extraordinary novel.
Ian McEwan won the 1998 Booker Prize with his story of a euthanasia pact between a composer and a newspaper editor that ultimately destroys their long-term friendship.
It’s rather a dark novel from the beginning which takes place at a funeral where the two men agree that if one of them is left helpless by a medical condition, the other will ease his exit from this world.
The rest of the novel sees each man take decisions with far-reaching consequences. The editor publishes private photographs revealing a political scandal. The composer leaves the scene of a rape because he can’t waste time when he has a symphony to finish.
This is a novel which reads like a psychological thriller at times; particularly in the final chapters in Amsterdam where the friends meet for a show-down. But it’s the way the novel deals with moral ambiguities that I enjoyed the most.
I read Amsterdam in 2000 and it’s one of my favourite novels by Ian McEwan. It’s one of the Booker Prize winners I think warrants a second read.
Michael Ondaatje’s latest novel, Warlight, is a stunning tale about loss and displacement set in the mysterious world of espionage.
It opens in 1945 when 14-year-old Nathaniel and his sister Rachel discover their parents are off to Singapore, supposedly in connection with their father’s job.
They are left in the care of a strange man called The Moth and an odd assortment of his friends who drift in and out of the house in Ruvigny Gardens in London. The purpose of their visits and their connection to the absent parents only becomes clear in the second half of the book.
Chief among the visitors is The Darter, a former boxer turned con artist, who ropes Nathaniel into his illegal nighttime expeditions through the streets and waterways of post-war London. Together they collect illegally imported greyhounds and smuggle them to racing tracks around the capital.
Education in life
The first half of the novel is essentially about Nathaniel’s education in life, when “cut loose by my parents, I was consuming everything around me.”
Through the Moth’s connections he begins working as a dishwasher at the Criterion hotel, mingling with the mainly immigrant staff, and bunking off school. And he has his first sexual experience with a girl who calls herself Agnes (we never learn her real name), in empty houses that have escaped bomb damage and are now up for sale.
In the footsteps of a spy
Part two of Warlight sees Nathaniel, now aged 28, and working in a department of an unnamed branch of British Intelligence. Though he is narrating his strange adolescence we come to realise that this book is not about him, but about his now-dead mother Rose and his attempts to piece together her life. In particular he wants to discover what happened during the final year of the war when he was left in the care of The Moth.
In furtive forays through the basement archives of his employer, he traces his mother’s double life as a spy whose radio transmissions were monitored closely by the Nazis. But though he can piece together fragments of her life, including her narrow escape from capture, she remains an enigma. Equally puzzling is his mother’s relationship with another agent, whom she first met when she was a child and he was the boy who fell from the roof of her parents’ house while working as a thatcher.
But as Nathaniel reflects towards the end of the book that all he has done is to “step into fragments of their story”.
We never know more than the surface of any relationship after a certain stage, just as those layers of chalk, built from the efforts of infinitesimal creatures, work in almost limitless time.
In particular his ability to convey character and atmosphere through sharply perceived images: Nathaniel’s night time trips through the waterways of the darkened city, his assignations with Agnes in grand mansions as greyhounds romp around the empty rooms. They are scenes that will longer long in my memory.
There is a poignancy too in this novel.
Nathaniel never sees his father again; his role in the whole escape to Singapore remains unclear, he cannot even find a photograph of the man.
Though he does re-unite with his mother who has hidden herself in a cottage in “a distant village, a walled garden”, the relationship between them is taut and uncomfortable. The boy’s desire to find that bond is palpable but Rose is too much on her guard to be at peace with her son, fearing that one day, she will be discovered by those who believe her actions during the war were dishonourable.
Questions of morality
Warlight is a thoughtful book. Ondatjee doesn’t focus only on the human dimension of relationships but about the morality of actions committed during war. Rose and her fellow agents were acting in the name of piece but they were still responsible for many deaths It’s a point that Nathaniel reflects upon:
In this post-war world, twelve years later, it felt to some of us, our heads bowed over the files brought to us daily, that it was no longer possible to see who held a correct moral position.
Warlight is such an outstanding novel that I am completely perplexed how it didn’t win the Booker Prize in 2018.