A note: Prompted by the time of year, I dug this out of my drafts folder and finished it. 90% of it was written a while ago, but I smoothed the rough edges and added a little perspective gained with the benefit of time to reflect further. Great book. If anyone has read Brightness Falls and not read The Good Life, they should do so. Read it anyway, even if you haven’t. Hell, read both!
SPOILERS: I’ve done my best to keep this spoiler-light and have deliberately avoided a detailed discussion of the ending for those who haven’t read The Good Life, in the hope that reading this might encourage exactly that. Nevertheless, I can’t guarantee that you won’t pick up some plot points that you would rather not have done.
I am a completist. I don’t deny it. It’s hard to do so to anyone who knows my bookshelves, CD racks or iPod, laden as they are with late-period mediocrities by once-great artists. I once owned every single recorded note Joni Mitchell ever produced, when anyone will tell you that you should stop at Hejira for your own good, thereby saving yourself the best part of a day of enduring her descent into jazzy irrelevance. I did the same thing with Springsteen, although that line is harder to draw, more of a rollercoaster than a one-way ticket. I do it with books, too, ploughing manfully on in the face of the critical gatekeeper’s unheeded cries. “Don’t bother!” they say. “He never bettered the one you’ve already read!” Fie, I say.
The latest beneficiary of this excess of faith in dwindling artistic output is Jay McInerney. McInerney and Bret Easton Ellis are, it seems, irrevocably tied together and, having now read Ellis’s entire oeuvre, it seemed only fair to move on to McInerney. Bonded by more than just the Literary Brat Pack label of the 1980s, the two are apparently good friends. However, whilst Ellis can still stop traffic with the launch of a new novel (I should know, I attended the London leg of the Imperial Bedrooms tour), McInerney seems to me to have drifted into relative obscurity (to the point where I was able to pick up more or less his entire published works for £2 or £3 a pop at my local FOPP) and a wine column for the WSJ. As you may have gathered from a previous entry, I struggle to grasp why McInerney is considered a middle-aged mediocrity whilst Ellis’s every tweet sets the twitterati a-flutter.
Like all New Yorkers, Ellis and McInerney were connected by the events of September 11th 2001. McInerney’s initial response to those events was published at the time by The Guardian, and makes fascinating reading. He visits his friend Bret and they try, and inevitably fail, to make sense of what is unfolding in front of them.
5 years later, McInerney produced a fictionalised response to 9/11 in the form of The Good Life. Nominally a sequel to Brightness Falls, it shares little except a core of characters, and even then there’s plenty of new ones added to the mix. (more…)
SPOILERS: If you haven’t read Less Than Zero, American Psycho, Imperial Bedrooms or Bright Lights, Big City and would like to do so in the future, it’s probably not a great idea to read this. BLBC in particular has an ending quite capable of being spoiled by the heavy quoting that follows.
Like, it seems, many of the critics, I was distinctly unsure what to make of Imperial Bedrooms, Bret Easton Ellis’s first novel in 5 years and sequel to his scorching, iridescent debut Less Than Zero (both, incidentally, are named after Elvis Costello albums) . In the end it took not a rereading of Less Than Zero, or indeed an evening at the Queen Elizabeth Hall in the company of Ellis and hundreds of his fans, but an encounter with another work of the 1980s “literary brat pack” before I could truly bring it into focus.
Last night I finished Bright Lights, Big City by Jay McInerney. I only picked it up because it was £2 in FOPP, and I nearly didn’t do that, only spotting the stack behind the counter once I had picked up a few other thing and gone to pay for them. “Oh, chuck in a copy of that,” I said, gesturing toward the pile of yellow paperbacks behind the cashier. All things considered I’m rather glad I did. I walked a few doors up to my favourite cafe in Nottingham and started to read. (more…)
In London to hear Bret Easton Ellis discuss Imperial Bedrooms on Tuesday, I took an early train and spent the day.
A wander through Soho and the dubious delights of Carnaby Street led to a veritable treasure of sandwich-making. Thanks for Franks is nestled just off Carnaby St itself (Yelp) and styled like an American diner-cum-deli. It serves the kind of giant, meaty sandiwches that characters in American TV shows eat at their desks, dripping teriyaki sauce and/or Thousand Island dressing everywhere but miraculously not on their clothes or any important documents (Special Agent Anthony DiNozzo, I’m looking at you…). I had the chargrilled chicken, which at £6 wasn’t too bad given the location, and sat outside watching Soho’s wildlife. Highly recommended.
Denmark Street might not be what it once was, but it’s still a pilgrimage I have to make from time to time. There are still gems to be found every now and again, such as the lovely 1969 Gibson EB-0 I played. Can’t afford it at the moment, but someday it’d be a lovely addition to the stable someday.
St George’s Bloomsbury is a pilgrimage of a more traditional sort, one I’ve tried and failed to make a couple of times before. This time I called ahead. Simply the best preserved and most elegant of Nicholas Hawksmoor’s glorious Baroque London churches, it is a treasure. My love of English Baroque churches probably stems from a couple of other examples, Derby Cathedral and Holy Trinity Leeds, but St George’s trumps them both for sheer elegance. The nave is a perfect cube, which seems an unremarkable fact until you think about it for a moment, stood within its geometric simplicity. (more…)