Lives that seem perfect but aren’t: An appreciation of James Salter

Twenty years ago Kirsty Gunn was promoting a book about a perfect family who seemed to have everything, but whose lives were slowly falling apart. An audience member suggested she read James Salter's "Light Years". It was the beginning of a life-long love

I first came to read James Salter 20 years ago, when I was in the US on a book tour. I was promoting a novel I’d written about a family who, from the outside, seem to have everything – beauty, leisure, endless summers and a house by a lake – but whose lives are freighted by a sadness that eventually pulls them down.

After one of my readings, in Stanford, a young man came up to me and told me that I must read Light Years by Salter. “He’s interested in those things you’re interested in,” he said. “Lives that seem perfect but aren’t. He sees the cracks and broken pieces that were there all along.”

It’s true, I am interested in writing about people who seem to be living one way but are all in pieces, their situations and circumstances crazed by the cracks of something that happened to them that at first can be hard to see. It’s this idea of fragmentation, not only as a subject but as a modus operandi, that makes me love Salter’s work. He’s interested not in the sweep of a big narrative, its willed arc, moral shape – all that – but in the separate, glittering bits of his characters’ lives. He makes his stories out of the moments that glint and shine and seem so very lovely while the light is upon them. But their edges are sharp and they cut deep.

Since that day in California, I’ve read, I think, everything Salter has written: books such as The Hunters, A Sport and a Pastime, the two collections of short stories, Solo Faces and The Arm of Flesh. All these beautifully put-together fictions of lives and loves that are filled with the world’s pleasures meticulously detailed: fine clothing and restaurants, good wine and conversation, parties, society, amusements of all degenerate and gorgeous kinds, sex . . . Many books written nowadays may be full of similar treasure but it’s there as stuff, as an accessory to the character, as an example of a milieu or a social type.

This worldly material is Salter’s subject. It elevates his characters and also brings them down. I know of no other writer in English since Fitzgerald who is quite as much in love with the glitter that is gold, its transformative power; who is so entranced by the sheen that money and leisure can lend to a life but who is quite aware of the damage that can be inflicted when one is so attracted to the world’s ravishments that there is no protection from them.

All That Is, Salter’s latest novel, may be his last (he is 87), though he’s not saying that. “You have the brains,” he once remarked, “but it’s energy and desire that make you write a novel.” Still, there is about All That Is the sense that the author is telling us once and for all what he is about. Philip Bowman, his hero, is more clearly drawn – as the selfmade man who has fashioned himself from the lessons life has taught him and the instruction of others who have lived on the scale to which he aspires – than any of Salter’s other protagonists. There’s also the sound here of elegy, a grand farewell:

He had been weeding in the garden that afternoon and looked down to see, beneath his tennis shorts, a pair of legs that seemed to belong to an older man. He mustn’t . . . be going around the house in shorts like this . . . He had to be careful about such things.

For a long time, I had to buy my Salter books when I was in New York. They were hard to come by in the UK. I tried to turn people on to him here: my agent, my publisher, friends . . . But the work seemed – what? Too American? Apart from the usual procession of Roths and Updikes and despite our introduction to “dirty realism” – writers few in this country had heard of before, such as Richard Ford, Raymond Carver, Bobbie Ann Mason, Jayne Anne Phillips and Tobias Wolff – English readers were still very much settled on this side of the Atlantic.

Or were the stories just too glamorous? Too fancy? Too sexy? Too chic? After all, British fiction still felt mired, back then, in the late 1990s, in a kind of extended postwar gloom – stiff with privation and lack. Or if not, it was in thrall to the Amis school of what I might call hyper-novels – with out of control subject matter rendered in a style that satirised and turned to junk everything it touched. Here, by contrast, was a writer who didn’t have an ironic sentence in him, no subtext, no side. Every paragraph on every page was put there to delight and devastate.

Even readers who’d loved writers such as Cheever and Yates didn’t know what to do with this other kind of book that inhabited the same part of the eastern seaboard, maybe, with the same kinds of families mixing highballs on the flat, blue lawns in front of their white houses at sundown. Salter is not using those places as a jumping-off point for some other moral tale. Those houses, those lawns, are enough to tell the entire story.

If that makes his themes sound shallow, we should ask ourselves what it is we need in our fiction to consider it great and grave and consequential. A lesson learned? Facts given, yielded? Research shown in this subject or that? A sense provided of intellectual, spiritual, emotional enlightenment? Salter is not interested in any of this. His writing is about the “moment of being” celebrated by modernist writers such as Virginia Woolf and Katherine Mansfield, the power of the moment rendered in words. He opens All That Is with this note: “There comes a time when you realise that everything is a dream, and only those things preserved in writing have any possibility of being real.”

Salter’s first novel was The Hunters, published in 1956. A thinly veiled fictional account of his time serving in the air force, it accounted for (as did the memoirs that followed, Burning the Days and Gods of Tin) the feeling of being in a cockpit, looking out a small windshield on the world below.         

All the work, fiction and non-fiction, spins out from that first airborne novel: taking off, ascending, turning, returning to the same landing spot, this sweet earth, its necessary and lovely attractions. So we dip, we dive, we land. We meet pretty girls, have sex, fall in and out of a kind of love. There are parties, we get married, we have affairs, we get divorced. We drink whisky last thing at night, by lamplight, alone. This is what Salter has written over the years, over and over and over again. There’s nothing shallow about this world, he says. This world is all we have.

Kirsty Gunn’s most recent novel is “The Big Music” (Faber & Faber, £20)

Beauty, leisure, endless summers and a house by a lake - Salter's characters appear to be living perfect lives, but are really in pieces. Photograph: Lana Rys.

This article first appeared in the 10 June 2013 issue of the New Statesman, G0

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So much for "the table never lies" – data unravels football's biggest lie of all

London side Brentford FC are using data to rethink the usual football club model.

It’s a miserable day for practice, the rain spitting down on the manicured training pitches of Brentford Football Club. Inside a tiny office marked Director of Football, Rasmus Ankersen is waiting for his phone to ring. The winter transfer window closes in 11 hours and there are deals to finalise.

Ankersen, a 33-year-old Dane with a trim beard and hair pulled into a small ponytail, seems relaxed. Perhaps he knows that the £12m transfer of the striker Scott Hogan to Aston Villa is as good as done. Or maybe his comfort comes from Brentford’s performance this season. The small west London club sits safely in the top half of the second tier of English football – at least according to management’s own version of the league table, which is based on “deserved” rather than actual results. Officially, on 31 January, when we meet, the team is 15th of 24.

“There’s a concept in football that the table never lies,” says Ankersen, whose own playing career was ended by a knee injury in his teens. “Well, that’s the biggest lie in football. Your league position is not the best metric to evaluate success.”

Brentford are an outlier in English football. Since the professional gambler Matthew Benham bought a majority share in 2012, they have relied on the scientific application of statistics – the “moneyball” technique pioneered in baseball – when assessing performance.

The early results were positive. In 2014, Brentford were promoted from League One to the Championship and the next season finished fifth. That same year, Benham’s other team, FC Midtjylland, which is run on similar principles, won the Danish Superliga for the first time.

Yet in 2016 Brentford slipped to ninth. Despite the disappointing season so far, Ankersen insists the strategy is the right one for “a small club with a small budget”.

Underpinning Brentford’s approach is the understanding that luck often plays a big part in football. “It is a low-scoring sport, so random events can have a big impact,” Ankersen says. “The ball can take a deflection, the referee can make a mistake. The best team wins less often than in other sports.”

In a match, or even over a season, a team can score fewer or more than its performance merits. A famous example is Newcastle in 2012, says Ankersen, who besides his football job is an entrepreneur and author. In his recent book, Hunger in Paradise, he notes that after Newcastle finished fifth in the Premier League, their manager, Alan Pardew, was rewarded with an eight-year extension of his contract.

If the club’s owners had looked more closely at the data, they would have realised the team was not nearly as good as it seemed. Newcastle’s goal difference – goals scored minus goals conceded – was only +5, compared to +25 and +19 for the teams immediately above and below them. Statistically, a club with Newcastle’s goal difference should have earned ten points fewer than it did.

Moreover, its shot differential (how many shots on goal a team makes compared to its opponents) was negative and the sixth worst in the league. That its players converted such a high percentage of their shots into goals was remarkable – and unsustainable.

The next season, Newcastle finished 16th in the Premier League. The team was not worse: its performance had regressed to the mean. “Success can turn luck into genius,” Ankersen says. “You have to treat success with the same degree of scepticism as failure.”

Brentford’s key performance metric is “expected goals” for and against the team, based on the quality and quantity of chances created during a match. This may give a result that differs from the actual score, and is used to build the alternative league table that the management says is a more reliable predictor of results.

Besides data, Brentford are rethinking the usual football club model in other ways. Most league clubs run academies to identify local players aged nine to 16. But Ankersen says that this system favours the richer clubs, which can pick off the best players coached by smaller teams.

Last summer, Brentford shut their academy. Instead, they now operate a “B team” for players aged 17 to 20. They aim to recruit footballers “hungry for a second chance” after being rejected by other clubs, and EU players who see the Championship as a stepping stone to the Premier League.

It’s a fascinating experiment, and whether Brentford will achieve their goal of reaching the Premier League in the near future is uncertain. But on the day we met, Ankersen’s conviction that his team’s fortunes would turn was not misplaced. That evening, Brentford beat Aston Villa 3-0, and moved up to 13th place in the table. Closer to the mean.

Xan Rice is Features Editor at the New Statesman.

This article first appeared in the 16 February 2017 issue of the New Statesman, The New Times