I’ve never spent a wet Sunday in Hartlepool during a power-cut. Honest. You can probably say the same. However, there are various ways of approximating the experience in the comfort of your own home. You could watch some paint dry, for example. Or you could try reading this book.
In other words: Lives in Writing is deeply, will-to-live-drainingly dreary. David Lodge is a big literary name of the kind I’ve always instinctively avoided. But this is a collection of essays on writers, not one of his novels or books on literary theory, and I thought I could learn something from it. I was right: I did. I learnt that my instincts about Lodge were correct:
The name of Frank Kermode first impinged on my consciousness in 1954, when I was a second-year undergraduate reading English at University College London. In our Shakespeare course we had lectures from Winifred Nowottny, who in due course would be a colleague of Frank’s when he occupied the Lord Northcliffe chair at UCL. (“Frank Remembered – by a Kermodian”, pg. 153)
In 1961, aged twenty-six, I was in my second year as Assistant Lecturer in English Literature at Birmingham University when the Head of Department, Professor Terence Spencer, decided that we ought to have a specialist in American Literature, and accordingly advertised a post for one. (“Malcolm Bradbury: Friend and Writer”, pg. 165)
Can you detect any irony in the phrase “impinged on my consciousness”? Me neither. Does your heart quicken at a title like “Malcolm Bradbury: Friend and Writer”? I hope not. But prose like that is certainly inspirational. It inspired me to create a new verb: to plodge, meaning “to write ploddingly dreary prose in the manner of David Lodge”. I don’t think much of English Literature as an academic subject and Lodge helpfully confirms some of my keyest, corest prejudices. He’s a virtuso of ennui, able to be dreary both at length and in brief. Even the titles of his books shrink the horizon and lower the sky: Language of Fiction; Modes of Modern Writing; Working with Structuralism; After Bakhtin; Write On.
Would I rather read a Will Self novel than one of those? It’s frightening that the thought even occurs to me. But I’ll say this for Lodge: he’s not as bad as Terry Eagleton or Christopher Hitchens. Those two are gasbags bloated with self-importance and self-righteousness, spectacularly, sky-swallowingly bad writers. And Lodge himself might agree. After all, he tries to let a little gas out of Eagleton in his review of After Theory (2003):
There are sentences that should never have got past the first draft on his computer screen, let alone into print, like: ‘Much of the world as we know it, despite its solid, well-uphoulstered appearance, is of recent vintage.’ (In the next sentence this uphoulstered vintage is thrown up by tidal waves.) (“Terry Eagleton’s Goodbye to All That”, pg. 131)
But he praises Eagleton too and salutes the “brilliant generation of French intellectuals” – Barthes, Lacan, Althusser, Derrida, Foucault et al – who were “key figures” in the evolution of modern literary theory. So I’m pleased that he devotes a long essay to Graham Greene and mentions Evelyn Waugh only in passing. That’s the way I would have wanted it. There’s an essay about Kingsley Amis too, which is also good. Alas, William Burroughs doesn’t get plodged, but you can’t have everything. However, you can have a wet Sunday in Hartlepool, metaphorically speaking. Just try Lives in Writing.
• Ink for Your Pelf – Literary Theory: An Introduction, Terry Eagleton
• Cigarettes and Al-Qaeda – Hitch-22: A Memoir, Christopher Hitchens
• Reds under the Thread – Younge, Eagleton et al