I’ve spent part of this year reading through the work of Jon McGregor, whose latest novel, Reservoir 13, has met with a lot of acclaim here in Britain. It has even become one of those rare beasts longlisted or shortlisted for the more conservative literary prizes (the Booker, the Costa) as well as the Goldsmiths Prize for “innovative fiction.” Now, on the occasion of its publication in America, James Wood has offered an especially perceptive take on the new book in the context of McGregor’s body of work.
“McGregor’s first novel received a lot of excited attention,” writes Wood,
\but in comparison with his later work it seems showy; it glistens with anxious youthful effort. The sentences are self-consciously lyrical, but not quite brilliant enough to earn their inflation. There are moments of subtlety, but they have to be dug out of the style. And the book is uneasily poised on the lip of a conceit: the street, we learn, is being described just before a climactic and terrible moment, withheld until the end of the book.
That was exactly my impression when I read it over the summer. Thankfully, McGregor has improved with age, and Reservoir 13 is his best work to date, establishing certain continuities with his earlier novels even as it breaks with them in its effects. Continue reading
You’ve gotta call it when you see it, so here it is: Tessa Hadley’s review of Jon McGregor’s Reservoir 13 is a model of what broadsheet criticism can accomplish. In only 1,300 words we’re treated to a thoughtful consideration of the narrative setup, the invocation of genre tropes and the expectations associated with them, the imagery, the prose style, the affect it generates, the tone of the whole when you apply that affect to the narrative action, and much more besides. Here’s a sample:
[E]verything [in Reservoir 13] is charged by our expectation as readers: everything ordinary has its undertow of significance. … And then as our expectations are strained to the limit, we begin to realise that the writer is deflecting them into something else, taking us into another kind of novel altogether. What actually fills up the pages, fills up narrative time while we wait to find the girl, is an omniscient narration moving easily around and inside a whole collective of protagonists in the village and following them through their daily lives, none of them dominating the story space. … The characters we watch are all warm enough, sentient human beings, prone to needing and wanting and mostly failing one another. But the eye of the story keeps its remote omniscient distance; it’s a cold camera-eye, or the eye of a hawk circling above the village, assembling everything impartially, not taking sides.
Read the rest and savour it. This quality of criticism is far too rare in the broadsheet press these days.