In Time Lived, Without Its Flow, Denise Riley embarks on an exquisite, excoriating investigation of her own mourning in the wake of the sudden death of her son. The book was more or less self-published several years ago and passed around like samizdat from one small press aficionado to another. Now, though, it has been republished by Granta in a beautiful new hardback edition with an introduction by Max Porter, and I had the pleasure of reviewing it this week for Splice:
What is radicalism in literature, but a redrawing of the usual boundaries of the readable? Find the zone of moderation, which is to say convention, then strike off in one of two directions. Push the boundaries outwards, claim liberties beyond those taken by the average book, and churn out a thousand-page treatise on melancholy or a doorstopper that makes room for every known fact about cetaceans. Or make your space more cramped, more pinched, and draw the boundaries inward. Forgo certain allowances; let your possibilities atrophy. Write a book in chapters of exactly one hundred words each, or in sentences that all take the form of a question. Use only phrases culled from other books, or refuse to use words containing the letter e. And then, if you really want to indulge your radicalism, choose a subject whose emotional freight tilts it in one of these two directions — excessive or aloof — and force your style to take the alternative. Go maximalist, go gargantuan, with a story about office boredom. Or else go minimalist, be ascetic by an act of will, with a counter-intuitive approach to a harrowing situation like the one faced by the poet Denise Riley.
Max Porter recently received an unusual honour when his debut novel, Grief Is the Thing With Feathers, was shortlisted for both the Guardian First Book Award and the Goldsmiths Prize. The Guardian, operating in partnership with Waterstones, tends to favour middlebrow literary fiction, eloquent but structurally conventional accounts of individuals in emotional extremis. Goldsmiths, in contrast, seeks to reward fiction that “breaks the mould or opens up new possibilities for the novel form” and “embodies the spirit of invention that characterises the genre at its best.” How, then, did Porter pull off the double nomination?
Despite the clear differences between the two prizes, it’s not a great surprise to see Grief Is the Thing With Feathers shortlisted for both of them. The novel explores the emotional distress of an academic whose wife has recently died, leaving him to raise their two sons by himself, and this set-up alone makes the novel pure gold for The Guardian. The twist in the tale is that the man and his boys are visited one night by a crow or a crow-like creature named Crow, a physical manifestation of their shared grief who moves into their house to guide them through the grieving process. Crow is a wild and wonderful creation: as mischievous as Loki, as brash as a barroom brawler, as self-pitying as a whipped puppy, and, on top of it all, a manifestation not only of grief but also of intertexuality. The grieving husband is a Ted Hughes scholar whose personal trauma turns his thoughts towards the intricacies of Hughes’ Crow, the poet’s exploration of his own grief after the suicide of Sylvia Plath, and so the character of Crow gives form to the animating spirit of Hughes’ book as much as he gives form to the scholar’s emotions. There is yet more intertextuality throughout — the title alludes to one of Emily Dickinson’s best-known poems — and, too, there’s a structure in which the narration jumps around between the increasingly terse man, the two boys who only ever speak of themselves as “we,” and the stream-of-consciousness ramblings of their otherworldly, inhuman companion. All of these elements, in combination, push the novel not too far beyond a scant one hundred pages with lots of white space throughout, which in turn often transmutes it into something approaching prose poetry and thus something distinctly palatable to the Goldsmiths judges. Continue reading →