Book Review: “Last Night on Earth” by Kevin Maher

IMG_4029Following on from his 2013 debut novel The Fields, Last Night on Earth is the second novel of Irish journalist, columnist and novelist Kevin Maher. Sadly I hadn’t read The Fields before reading this book, but I had flicked through a number of reviews online to try to get a sense of Maher’s writing; I discovered that Maher had been praised for his evocation of an endearing, witty narrator in his debut, and I can confidently say that this was the highlight of Last Night on Earth. It is an absurdly funny, touching and nuanced narrative which opens bizarrely, and fittingly for the novel such as it is, from the perspective of a garrulous baby in the midst of being born. However the story quickly moves to focus on that child’s father, Jay, an Irishman finding his course of life in the English capital. After doting on his beloved mother for many years in an attempt to delay the deterioration of the effects of her Alzheimer’s disease, Jay decides to set his own life in motion by moving to London where he takes gigs as a labourer until he gets a lucky break to work on a documentary courtesy of a labourer friend of his, Darren. A love of films, or “fillums” as Jay would have it in his Gaellicized narrative voice, is one of a few constants that courses through this topsy-turvy and endlessly entertaining novel, and one which also leads him on the path to meet his future wife, Shauna.

 “… and we together push like crazy, from inside and out, both beating blood together, her thumpety-thump and my wuchoo-wuchoo-wuchoo, pushing my greasy noggin to the edge of the world and through a skin stretch that’s nothing less than rippy, teary, burny red and makes Momma Shauna go Shheeeeeshhh through her teeth…” (p.3)

Instead of following a chronological curve, the book flitters episodically through time and jolts from third- to first-person narrator to give a jigsaw-like effect whereby the full picture of the story is unveiled piece by piece. So we veer from Jay’s early episodes in London, hitching a ride to work with other “Micks” and finding himself in the big smoke, before fast-forwarding to his later situation as a thirty-something-year-old separated parent. After becoming smitten with American colleague Shauna over a sexy, fun, carefree relationship, the burdens of adulthood and parenthood tumble down somewhat dramatically on the young couple following the birth of their daughter, Bonnie, when complications in the birth result in their daughter potentially suffering from brain damage. This places strain on their own relationship which becomes increasingly stale before culminating in Shauna finding solace in her opportunist and rather creepy psychologist Dr.Ghert.

Following a difficult separation and the appearance of an old Irish friend, ominously called The Clappers, things take a stern downward turn for Jay. While his arc in the media world is on the ascendency with being granted the opportunity to direct his own documentary, the money and lifestyle this seems to bring sees Jay spiral into a world introducing him to drugs, near-drowning, assault and a belief that the dawn of the millennium will bring with it the apocalypse. The final sections of the novel artfully imitate Jay’s state of mind, and are chaotic, fragmented and, at times, nonsensical, with bearings on time and space being awry at best. By the time the countdown for the millennium is here we supposedly find Jay lingering dangerously on the fringes of a party including royalty and the Prime Minister:

“I lift the trapdoor, barely an inch from the ground, and scan the arena. ‘Sixteen!’ Feckin Blair’s there. And Cherie. The Queen. All the New Labour heavies. Lenny Henry and Mick Hucknell too! Boy, are they in for a surprise! Holding back the years, me arse!” (p.365)

Maher’s craftsmanship in Last Night on Earth lies primarily in his ability to evoke character through narrative voice and secondly in the structure and style of the book. Jay is a distinctively portrayed character, full of life, bearing that quintessential Irish wit, topped off with an authentic amount of cursing. We acquire a fuller picture of his character through the series of epistolary chapters which comprise imaginary letters addressed to his mother in which he reveals all about his experiences in London. It is these letters that create a bond of empathy between the reader and Jay as a character, that keep us rooting for him, and that expose his inner vulnerabilities and fears but also his relentless energy and determination to succeed as a father to little Bonnie. Religion, and the centrality or importance of religion to Irish society is also a major theme that I felt was dealt with quite sardonically by Maher. The leaders of the Catholic church are quite content to pursue Jay’s mother’s outlandish and, we assume, Alzheimer-inducted claims that he is the second coming of Christ in order to convert more locals to the religion, pointing towards the corruption and sad desperation of that religion. This is something that Maher supposedly deals with in his debut novel according to reviews I’ve read, and it is probably one of if not the only controversial or politicized theme in the novel.

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Overall I felt Last Night on Earth to be a light-hearted, entertaining and humane tale of fatherhood and the fine line that all parents tread between unabounding love for their child and the constant fear of failure. I look forward to discovering his debut novel and checking out his future work. Have you read The Fields? If so I’d definitely be interested to hear your thoughts on that book and how it compares to Last Night on Earth (if you have read it!).

Thanks to Abacus Books and Poppy Stimpson for my review copy.

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“The Blazing World” by Siri Hustvedt

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Harriet Burden, the protagonist of Hustvedt’s novel, is a woman with an insatiable thirst for life and knowledge. As the novel proceeds we are made aware of Harry’s erudite, abstruse and astonishing breadth of mind through journals left behind after her death, as well as interviews with people who knew her and worked with her in her art. Further to her shining intelligence, Harry is a woman with a blazing fire in her belly, a woman with a stern and uncompromising attitude to life. Yet it seems that the misogynistic and superficial world in which she finds herself is unable to harness the force that she is, and instead Harry is forced to live out a repressed and confined lifestyle, playing out the social role expected of a woman in the twentieth-century.

 

But deep down, Harriet Burden knows that she is an exceptional artist. She also knows that the sole reason she does not flourish in the contemporary art world is because, as she puts it, she is “old lady artist Harry Burden with two adult children and a grandchild and a bank account”. Yes, she has produced work that has appeared in galleries. Yes, she has even received positive reception of her art in minor art journals. But there are people who have the audacity to suppose that her artistic abilities stem from her husband, a big time art dealer well-known in the artistic spheres. The hideous patriarchs of her life and the chauvinism of her contemporary society stoke up the fire that sits in Harry’s stomach until it becomes a blazing fire that will only be relinquished by some act of revenge, some act of justice. The Blazing World, a title taken from a utopian work by Margaret Cavendish, one of Harry’s foremost heroes, centralises on her act of revenge, her chef d’oeuvre which will expose the misogyny and corruption of the contemporary art world. Harriet Burden creates three pieces of work which will be revealed to the world by three ‘masks’; generally young, attractive males who will claim these works to be their own before Harry reveals the truth. The third of these artists, the true coup of Harriet’s plan, will see an artist named Rune, already an established and recognised force on the art scene, become the mask of the pinnacle third piece of art that will send violent undulations throughout the art world. The revelation that Rune’s work was in fact created by Harriet Burden will place her name in the history books as the woman who exposed and implemented equality into a once superficial and heavily sexist art world.

 

The three works are referred to as a whole as “Maskings”, but this project is later defined as:

 

“a trio that together comprise a single work called Maskings, which has a strong theatrical and narrative component because she [Harriet Burden] insists that it includes the reviews, notices, ads, and commentary the shows have generated, which she refers to as “the proliferations””.

 

In short, then, “Maskings”, Harriet Burden’s masterpiece, is The Blazing World, the book you are reading. Built up of Harry’s personal journals, interviews with her children, reviews of the three different pieces in newspapers and journals, interviews with friends and artists, the various miscellanea of The Blazing World amount to “the proliferations” that Harry was so desperate to include in the work as a whole. The structure of Hustvedt’s novel is complex and is worth spending time with, but I thought it a stroke of genius by the author to have this supposedly fictitious artwork made by a fictitious character actually come to life in Hustvedt’s own art. It drives home the urgency of the novel’s themes and forces us to consider them in relation to our contemporary art world in the twenty-first century.

 

Now I like art as much as the next person and enjoy visiting different cities and seeing new exhibitions. How art gets into those exhibitions, how artists gain their reputations, and essentially how the art world spins is something I have never really contemplated. Hustvedt’s novel forces her readers to open our eyes to these issues and to the establishment that runs the art world. That Hustvedt implies that the art world is plagued by misogyny and superficial values such as a person’s image or reputation is at once disappointing but, I have to admit, not hugely surprising. It is the second novel I have read recently, alongside Chimamanda Ngozi Adichie’s Americanah, which suggests that the fast-evolving, open-minded, multi-cultural image many of our contemporaries hold of our modern society is completely awry and delusional. Americanah demonstrates that racism is still rife in the Western world. The Blazing World dissects sexism with relation to the art world. A sad prospect when art should be the tool for broadening and expanding people’s imaginations, prospects, ideas and vision of the world.

 

Hustvedt’s writing is also excellent. Her creation of Harriet Burden is masterful and must have demanded a large amount of research and intelligent discussion with her peers. The result is a fascinating character who intrigues from start to end by engaging readers on more levels to a multi-storey car park. The most important level is probably the personal and emotional connection the reader develops with Harry, a strong empathy that reaps a deep sadness in the latter pages of the novel. Some of the passages in the last fifty pages I thought to be absolutely wonderful in tying up the true tragedy of Harriet’s story. But besides the melancholy that sits at the throat of the novel’s denouement, there is a shining light that bursts through the novel’s darkness, and that is the inextinguishable power of art. My absolute favourite passage of The Blazing World comes in the last pages of the novel when a mystical character named Sweet Autumn Pinkney visits Harry’s study for the last time to view her art:

 

“We walked around and looked at some of the other pieces of art, and then, when we were about to go through the door, I turned around to take one last look at Harry’s artworks, and then I saw their auras blazing out all around them. They were just things a person had made. For the first time, I really had the understanding of why the master taught that there were artists on the higher plane living on Sirius. It was because they had given their spirits and energies into what they made. They must have had a lot of extra energy to give away. Anyway, I swear the whole room was lit by those shivering rainbows.”

 

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 Siri Hustvedt

Like any other artistically-inclined human being, I admire this idea that what we create in our lifetime leaves behind a part of our energy, of our character, of our spirit after we die. Although art is a fragile thing which might be lost or destroyed or stolen or misrepresented, art is one of a small number of instruments in life that we have to leave behind a part of our energy, our spirit, of our character in the world. This is, of course, an ancient idea that is explored in works from Homer to Shakespeare and beyond. But it is an eternally important idea that is easily forgotten and is wholly relevant to Hustvedt’s discussion of art.

 

An intriguing protagonist, a complex structure, urgent themes and extremely well-written, The Blazing World is only the second book I have read from this year’s Man Booker Prize long-list. I would, however, be extremely surprised if this one missed out on the short-list and at this moment in time I would not be surprised if Hustvedt’s novel came up trumps and won the accolade. A fantastic book that I would heartily recommend.

 

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