Greg Bellow: Believe me, there was plenty of fighting and screaming, plenty of friction and grief

Greg Bellow, son of Saul Bellow and author of Saul Bellow's Heart: A Son's Memoir, on family, psychotherapy and writing.

One of the things that distinguishes your book, Saul Bellow’s Heart: a Son’s Memoir, from previous portraits of your father is that he doesn’t emerge as a hero or a villain – it’s more nuanced. Was this your conscious intention?
Yes, I wanted it to be different. Saul was all about nuance. You couldn’t generalise about him. He wanted to get to the bottom of everything – and I wanted to show how complicated he was. I can’t say whether he would have wanted an honest portrait or not. I suspect not. But I thought it was necessary.

Do you think your father knew that writing about friends and family members would cause those people pain? Or did he really hold to an artist’s credo that made it OK?
Saul subscribed to that credo – no doubt about it. I’ve spoken to Janna Malamud Smith and she says that her father [Bernard Malamud] also subscribed to it. Saul believed in the sanctity of art; he had himself convinced. But if you waterboarded him and asked him if he really believed it, I don’t know what he would have said.

One of the book’s main subjects is family ties.
Saul’s relationship to his family was just primordial. I am sure that the loss of his mother at 17 was just earth-shattering for him. Those bonds were very tight and they lasted until his death. His tie to his three sons was nigh-on the same. It was unbreakable – and believe me, there was plenty of pushing and pulling and fighting and screaming, plenty of friction and grief, probably with me more than anyone, because I was the oldest and I was the stubbornest.

By profession, you are a psychotherapist but you make a decision not to try to explain your father.
I didn’t want to answer those kinds of questions, very consciously, and I don’t like that kind of determinism. I don’t subscribe to it professionally and it’s not a good idea if you’re trying to write a book about a complicated person to say that A is caused by B. I’ve been in a psychobiography group for a number of years and I’ve read a lot of books by people who did that. You’re putting a big bullseye on your chest and saying, “Shoot here.”

Did the book change your attitude to your father as an artist or public figure? You express disapproval, for example, with his often-quoted question: “Who is the Proust of the Papuans?”
The answer while I was writing the book was no. Now that I’ve finished it, my answer is different. I don’t know whether it was a block or an impairment or a blind spot or a form of self-preservation but it wasn’t until he died that I could even think of it. I just didn’t pay attention because I couldn’t afford to psychologically. I have more cognisance of him now as a literary hero and a lot more respect for him as a writer – but do I think he should have said that thing about the Papuans or those things about blacks and women? No. I’ve still got a way to go with that.

Was it a painful book to write?
Yes, some bits more painful than others, but I knew it wasn’t going to be easy. The hardest part was probably getting my writing under control. I taught myself to write over the last five years.

What was the process?
I wrote and I wrote and I wrote. As my themes became clearer, it was easier for me to say what did and didn’t belong and to leave out stuff. But I didn’t leave out the contradictions. People would ask me, “Why did your father, who was so logical, spend ten years studying Rudolf Steiner?” My answer is, he wasn’t just logical. He was also a man very preoccupied with his own death and he was willing to put his logic on the back burner if this stuff could show him something that Plato or Hegel couldn’t. I left in what was important, to the best of my ability. It came from my gut. And believe me, you wouldn’t want to go through the drafts.

Greg Bellow’s “Saul Bellow’s Heart: a Son’s Memoir” is published by Bloomsbury (£20)

Greg Bellow's father, Saul, in 1992. Photograph: Goran Mikic.

Leo Robson is the lead fiction reviewer for the New Statesman.

This article first appeared in the 03 June 2013 issue of the New Statesman, The Power Christians

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Don’t worry, Old Etonian Damian Lewis calls claims of privilege in acting “nonsense!”

The actor says over-representation of the privately educated at the top of acting is nothing to worry about – and his many, many privately educated peers agree.

In the last few years, fears have grown over the lack of working class British actors. “People like me wouldn’t have been able to go to college today,” said Dame Julie Walters. “I could because I got a full grant. I don’t know how you get into it now.”

Last year, a report revealed that half of Britain’s most successful actors were privately educated. The Sutton Trust found that 42 per cent of Bafta winners over all time were educated independently. 67 per cent of British winners in the best leading actor, actress and director categories at the Oscars attended fee-paying schools – and just seven per cent of British Oscar winners were state educated.

“That’s a frightening world to live in,” said James McAvoy, “because as soon as you get one tiny pocket of society creating all the arts, or culture starts to become representative not of everybody but of one tiny part. That’s not fair to begin with, but it’s also damaging for society.”

But have no fear! Old Etonian Damian Lewis is here to reassure us. Comfortingly, the privately-educated successful actor sees no problem with the proliferation of privately-educated successful actors. Speaking to the Evening Standard in February, he said that one thing that really makes him angry is “the flaring up recently of this idea that it was unfair that people from private schools were getting acting jobs.” Such concerns are, simply, “a nonsense!”

He elaborated in April, during a Guardian web chat. "As an actor educated at Eton, I'm still always in a minority," he wrote. "What is true and always rewarding about the acting profession is that everyone has a similar story about them being in a minority."

Lewis’s fellow alumni actors include Hugh Laurie, Tom Hiddleston, Eddie Redmayne – a happy coincidence, then, and nothing to do with the fact that Etonians have drama facilities including a designer, carpenter, manager, and wardrobe mistress. It is equally serendipitous that Laurie, Hiddleston and Tom Hollander – all stars of last year’s The Night Manager – attended the same posh prep school, The Dragon School in Oxford, alongside Emma Watson, Jack Davenport, Hugh Dancy, Dom Joly and Jack Whitehall. “Old Dragons (ODs) are absolutely everywhere,” said one former pupil, “and there’s a great sense of ‘looking after our own’." Tom Hollander said the Dragon School, which has a focus on creativity, is the reason for his love of acting, but that’s neither here nor there.

Damian Lewis’s wife, fellow actor Helen McCrory, first studied at her local state school before switching to the independent boarding school Queenswood Girls’ School in Hertfordshire (“I’m just as happy to eat foie gras as a baked potato,” the Telegraph quote her as saying on the subject). But she says she didn’t develop an interest in acting until she moved schools, thanks to her drama teacher, former actor Thane Bettany (father of Paul). Of course, private school has had literally no impact on her career either.

In fact, it could have had an adverse affect – as Benedict Cumberbatch’s old drama teacher at Harrow, Martin Tyrell, has explained: “I feel that [Cumberbatch and co] are being limited [from playing certain parts] by critics and audiences as a result of what their parents did for them at the age of 13. And that seems to me very unfair.”

He added: “I don’t think anyone ever bought an education at Harrow in order for their son to become an actor. Going to a major independent school is of no importance or value or help at all.” That clears that up.

The words of Michael Gambon should also put fears to rest. “The more Old Etonians the better, I think!” he said. “The two or three who are playing at the moment are geniuses, aren’t they? The more geniuses you get, the better. It’s to do with being actors and wanting to do it; it’s nothing to do with where they come from.”

So we should rejoice, and not feel worried when we read a list of privately educated Bafta and Oscar winners as long as this: Chiwetel Ejiofor (Dulwich College), Emilia Clarke (St Edward’s), Carey Mulligan (Woldingham School), Kate Winslet (Redroofs Theatre School), Daniel Day-Lewis (Sevenoaks School, Bedales), Jeremy Irons (Sherborne School), Rosamund Pike (Badminton), Tom Hardy (Reed), Kate Beckinsale (Godolphin and Latymer), Matthew Goode (Exeter), Rebecca Hall (Roedean), Emily Blunt (Hurtwood House) and Dan Stevens (Tonbridge).

Life is a meritocracy, and these guys were simply always the best. I guess the working classes just aren’t as talented.

Anna Leszkiewicz is a pop culture writer at the New Statesman.

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