Leading academic condemns British novelists

Amis, McEwan and Rushdie are like "prep school boys showing off".

Gabriel Josipovici, a former Weidenfeld Professor of Comparative Literature at Oxford University, has issued a strong criticism of Britain's most prominent living authors. Speaking to the Guardian, Josipovici said that the contemporary British novel was "profoundly disappointing -- a poor relation of its groundbreaking modernist forebears". He continued:

Reading [Julian] Barnes, like reading so many other English writers of his generation -- Martin Amis, [Ian] McEwan -- leaves me feeling that I and the world have been made smaller and meaner. The irony which at first made one smile, the precision of language which was at first so satisfying, the cynicism which at first was used only to puncture pretension, in the end come to seem like a terrible constriction, a fear of opening oneself up to the world.

Referring to graduates of the University of East Anglia's celebrated creative writing course (whose number includes McEwan), he said:

They all tell stories in a way that is well crafted, but that is almost the most depressing aspect of it -- a careful craft which seems to me to be hollow.

Josipovici suggested that the problem was worse in Britain than elsewhere, but also criticised the American novelist Philip Roth.

For all Roth's playfulness -- a heavy-handed playfulness at the best of times -- he never doubts the validity of what he is doing or his ability to find a language adequate to his needs. As a result, his works may be funny, they may be thought-provoking, but only as good journalism can be funny and thought-provoking.

Josipovici's criticisms will feature in a forthcoming book, What Ever Happened to Modernism?

Daniel Trilling is the Editor of New Humanist magazine. He was formerly an Assistant Editor at the New Statesman.

THOM ATKINSON
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Lionel Shriver's new novel creates a whole world – but can't quite grasp its inhabitats

Like Shriver's previous offerings, The Mandibles: a Family – 2029-2047 takes on a difficult topic: this time, American debt.

If your son takes a bow-and-arrow set to school and kills nine of his classmates, how do you know how much responsibility you bear for his actions, if any? If you have been living frugally for decades so that you can retire early to a tropical island and, just before you do so, your wife is diagnosed with aggressive and terminal cancer, do you have an obligation to spend your entire savings to prolong her life by a couple of months? If your brother is morbidly obese and the best chance he has of losing the 200-odd pounds that will save his life is for you to leave your husband and teenage stepchildren and to live with him, monitoring every calorie he ingests, should you do so?

These questions are at the centre of three of Lionel Shriver’s previous novels, namely: We Need to Talk About Kevin (her eighth, which brought her worldwide fame in 2003 after nearly two decades of writing in obscurity), So Much for That (2010) and Big Brother (2013). Shriver is fascinated by how we make sense of our responsibilities to and for those around us. She explores this theme through the psyches of her main characters as they confront extreme personal circumstances that chime with contemporary American socio-political issues: mass shootings, the health-care system, the obesity epidemic.

In The Mandibles, she takes on the US economy (Shriver is an American, although she lives in England). The book opens 13 years in the future, with the collapse of the dollar and America defaulting on its national debt. The president – the country’s first Latino head of state – forbids capital over $100 leaving the country and citizens are required to hand over to the government any gold they own, down to their wedding rings. This all takes place against a background of environmental change, an ageing population, racial tension and widespread unemployment, which is caused, in part, by the ability of robots to do what used to be human work.

Shriver’s powers of invention are considerable and, combined with a dark sense of humour, have often provided relief from the bleak subjects to which she is drawn. In So Much for That, for example, the cancer-battling wife renames the drugs she is prescribed: marzipan for lorazepam, Attaboy for Ativan, and so on.

The future setting of The Mandibles allows Shriver’s inventiveness full rein. “Awesome” and “cool” are out of date; the kids say “malicious” and “careless” instead. No one uses smartphones any more; they use “fleXes”, a device that can be folded to any size and is “so thin that, before the distinctive bright colours of its second generation, some folks had thrown theirs away, mistaking the wads in their pockets for tissues”. No one reads novels any more, either, but a post-crisis economic treatise called The Corrections gets a lot of attention. (Perhaps unsurprisingly, the state of the publishing industry is one of the most fully imagined aspects of Shriver’s future.)

Most members of the Mandible family aren’t prepared for how quickly – and how much – the economic crisis will change their lives. They have all been assuming that when their 97-year-old patriarch, Douglas, dies, the family fortune would filter down to his son and daughter and then to his son’s children and grandchildren. But the crisis wipes out the Mandible money and Douglas and his dementia-suffering second wife are forced to move out of their high-end care home and in with his son, Carter.

Carter’s two daughters struggle with the situation in their own ways. The richer of the two, Avery, has to adjust to no longer being able to afford extra-virgin olive oil, while Florence, for whom olive oil has long been a luxury, resigns herself to feeding her family cabbage and rice for every meal. She does the weekly shopping as soon as she is paid: as a result of hyperinflation, prices can rise steeply in a single day. When both Avery and her husband lose their jobs, they have to leave their house and take up residence with their teenage children in Florence’s already overcrowded home.

The Mandibles asks us to consider how we know what we owe to our family and our community and what counts as fair when all of the structures around which we have built our lives become unstable. There is an impressive thoroughness to Shriver’s imagining of the consequences of full-scale economic collapse. This thoroughness, however, makes the novel feel psychologically flat.

The character to whom she devotes most time is Florence’s son Willing, a teenager at the beginning of the book. An economics autodidact, he has a preternatural ability to judge just how things will get worse and to prepare accordingly.

Another Mandible insists that things will get back to normal. Another gets involved in the black market. Another reinvents herself as a model of altruism. Different characters react to catastrophe differently but the way in which Shriver moves between so many of them and has them make so many difficult decisions in difficult circumstances makes her engagement with each feel cursory. She creates a whole world but not quite whole human beings. 

The Mandibles: a Family – 2029-2047 by Lionel Shriver is published by Borough Press (400pp, £16.99)

This article first appeared in the 19 May 2016 issue of the New Statesman, The Great Huckster