Ten Years in the Tub. Nick HornbyЧитать онлайн книгу.
and patterns emerged, patterns that might be worth looking at. And, of course, that was pretty much the last time my reading had any kind of logic or shape to it. Ever since then my choice of books has been haphazard, whimsical, and entirely shapeless.
It still seemed like a fun thing to do, though, writing about reading, as opposed to writing about individual books. At the beginning of my writing career I reviewed a lot of fiction, but I had to pretend, as reviewers do, that I had read the books outside of space, time, and self—in other words, I had to pretend that I hadn’t read them when I was tired and grumpy, or drunk, that I wasn’t envious of the author, that I had no agenda, no personal aesthetic or personal taste or personal problems, that I hadn’t read other reviews of the same book already, that I didn’t know who the author’s friends and enemies were, that I wasn’t trying to place a book with the same publisher, that I hadn’t been bought lunch by the book’s doe-eyed publicist. Most of all I had to pretend that I hadn’t written the review because I was urgently in need of a couple hundred quid. Being paid to read a book and then write about it creates a dynamic which compromises the reviewer in all kinds of ways, very few of them helpful.
So this column was going to be different. Yes, I would be paid for it, but I would be paid to write about what I would have done anyway, which was read the books I wanted to read. And if I felt that mood, morale, concentration levels, weather, or family history had affected my relationship with a book, I could and would say so. Inevitably, however, the knowledge that I had to write something for the Believer at the end of each month changed my reading habits profoundly. For a start, I probably read more books than I might otherwise have done. I suspect that I used to take a longer break between books, a couple of days, maybe, during which time I’d carry a copy of the New Yorker or Mojo around with me, but now I push on with the next book, scared I won’t have enough to write about (or that I’ll look bad, unbookish and unworthy of the space in a publication as smart as the Believer). Magazines have been the real casualties of this regime (although the Economist has survived, partly to replace the newspapers I’m not reading.)
It was the very nature of the Believer itself, however, that really shook up my reading, hopefully forever. The magazine, which is five months older than the column, is a broad church, and all sorts of writers (and artists, and filmmakers, and other creative types) are welcome to stand in the pulpit and preach, but it has one commandment: THOU SHALT NOT SLAG ANYONE OFF. As I understand it, the founders of the magazine wanted one place, one tiny corner of the world, in which writers could be sure that they weren’t going to get a kicking; predictably and depressingly, this ambition was mocked mercilessly, mostly by those critics whose children would go hungry if their parents weren’t able to abuse authors whose books they didn’t much like.
I understood and supported the magazine’s stance, which seemed admirable and entirely unproblematic to me—until I had to write about the books I’d read which I hadn’t much liked. The first couple of times this happened, earnest discussions took place with the magazine’s editors, who felt that I’d crossed a line, and I either rewrote the offending passages so that I struck a more conciliatory tone, or the offending books and writers became anonymous. I didn’t mind in the least, and in any case it gave me the opportunity to mock the Believer’s ambition mercilessly. (For the record: there is no Polysyllabic Spree. I deal with Vendela Vida and Andrew Leland, co-editor and managing editor of the Believer, respectively, and they are neither humorless nor evangelical. They even watch television, I think.)
The Believer’s ethos did, however, make me think about what and why I read. I didn’t want to keep rewriting offending passages in my columns, and I certainly didn’t want to keep using the phrases Anonymous writer or Unnameable novel. So what to do? My solution was to try to choose books I knew I would like. I’m not sure this idea is as blindingly obvious as it seems. We often read books that we think we ought to read, or that we think we ought to have read, or that other people think we should read (I’m always coming across people who have a mental, sometimes even an actual, list of the books they think they should have read by the time they turn forty, fifty, or dead); I’m sure I’m not the only one who harrumphs his way through a highly praised novel, astonished but actually rather pleased that so many people have got it so wrong. As a consequence, the first thing to be cut from my reading diet was contemporary literary fiction. This seems to me to be the highest-risk category—or the highest risk for me, at any rate, given my tastes.
I am not particularly interested in language. Or rather, I am interested in what language can do for me, and I spend many hours each day trying to ensure that my prose is as simple as it can possibly be. But I do not wish to produce prose that draws attention to itself, rather than the world it describes, and I certainly don’t have the patience to read it. (I suspect that I’m not alone here. That kind of writing tends to be admired by critics more than by book buyers, if the best-seller lists can be admitted as evidence: the literary novels that have reached a mass audience over the last decade or so usually ask readers to look through a relatively clear pane of glass at their characters.) I am not attempting to argue that the books I like are “better” than most opaquely written novels; I am simply pointing out my own tastes and limitations as a reader. To put it crudely, I get bored, and when I get bored I tend to get tetchy. It has proved surprisingly easy to eliminate boredom from my reading life.
And boredom, let’s face it, is a problem that many of us have come to associate with books. It’s one of the reasons why we choose to do almost anything else rather than read; very few of us pick up a book after the children are in bed and the dinner has been made and the dirty dishes cleared away. We’d rather turn on the television. Some evenings we’d rather go to all the trouble of getting into a car and driving to a cinema, or waiting for a bus that might take us somewhere near one. This is partly because reading appears to be more effortful than watching TV, and usually it is, although if you choose to watch one of the HBO series, such as The Sopranos or The Wire, then it’s a close-run thing, because the plotting in these programs, the speed and complexity of the dialogue, are as demanding as a lot of the very best fiction.
One of the problems, it seems to me, is that we have got it into our heads that books should be hard work, and that unless they’re hard work, they’re not doing us any good. I recently had conversations with two friends, both of whom were reading a very long political biography that had appeared in many of 2005’s “Books of the Year” lists. They were struggling. Both of these people are parents—they each, coincidentally, have three children—and both have demanding full-time jobs. And each night, in the few minutes they allowed themselves to read before sleep, they plowed gamely through a few paragraphs about the (very) early years of a major twentieth-century world figure. At the rate of progress they were describing, it would take them many, many months before they finished the book, possibly even decades. (One of them told me that he’d put it down for a couple of weeks, and on picking it up again was extremely excited to see that the bookmark was much deeper into the book than he’d dared hope. He then realized that one of his kids had dropped it and put the bookmark back in the wrong place. He was crushed.) The truth is, of course, that neither of them will ever finish it—or at least, not in this phase of their lives. In the process, though, they will have reinforced a learned association of books with struggle.
I am not trying to say that the book itself was the cause of this anguish. I can imagine other people racing through it, and I can certainly imagine these two people racing through books that others might find equally daunting. It seems clear to me, though, that the combination of that book with these readers at this stage in their lives is not a happy one. If reading books is to survive as a leisure activity—and there are statistics which show that this is by no means assured—then we have to promote the joys of reading rather than the (dubious) benefits. I would never attempt to dissuade anyone from reading a book. But please, if you’re reading a book that’s killing you, put it down and read something else, just as you would reach for the remote if you weren’t enjoying a TV program. Your failure to enjoy a highly rated novel doesn’t mean you’re dim—you may find that Graham Greene is more to your taste, or Stephen Hawking, or Iris Murdoch, or Ian Rankin. Dickens, Stephen King, whoever. It doesn’t matter. All I know is that you can get very little from a book that is making you weep with the effort of reading it. You