Each week Drew Wade will attempt to read and review a book by an author who’s new to him, and then he’ll tell you if it’s worth your time or not.
I’m making rapid progress through my bookstacks, but I’m still in the A section. This reminds me of a man with a reputation as a fast walker deciding to make his way through Texas. (“What did you think this was, son? Rhode Island?”) This week I’m hitting Kingsley Amis, who, besides having the coolest first name I’ve ever heard, has a son with an even more stellar reputation as a novelist. But more on Martin (who doesn’t have nearly as cool of a name as his dad) next week. I’ve wanted to read one of Kingsley’s books for a while now, mostly because he comes up as part of the crowd who started changing British literature after World War II. I figure he’s worth the read.
To get to Mr. Amis, I had to pass through Julia Alvarez and Jorge Amado. Can we talk a little about Alvarez for a second, please? She is amazing. What’s that cliché that critics sometimes use for books by people like P.D. James and J.D. Robb—“un-put-downable”? Alvarez’s books, How the Garcia Girls Lost Their Accents and In the Time of the Butterflies, were like that for me. Here’s the problem: I can only remember the vaguest details of what’s in them. Something about the Dominican Republic and four sisters—are there four sisters in both of the books? Is one a sequel to the other? Help! I don’t know. In cases like this, my suspicion is that the books were so good because of the writing style itself, not because of the plot details. Which is fine with me, because I love beautiful writing. My favorite memory of reading them is when I was late for a class on the other side of campus because I’d been reading one, and I decided that I just had to walk to class and read at the same time, because I didn’t want to stop reading.
Jorge Amado is a mystery to me. A couple of years ago I read The Double Death of Quincas Waterbray. I couldn’t tell if it was magical realism or not, and that might have been the point. The closest work of fiction to it that I can think of is Weekend at Bernie’s. If you like very short romps set in Brazil starring friends who can’t believe their other friend is dead, you’ll like this book. I don’t know what I was expecting with Amado. I’m going to have to re-read him one of these days and give him another chance. (Can you tell that I don’t care too much for Weekend at Bernie’s?)
Now on to Kingsley Amis’s first novel, Lucky Jim, which is about Jim Dixon, a young professor who isn’t tenured, who is shat upon by his overseers, and who has to put up with academic hypocrisy and pretentiousness all the time. What’s that you say? You think this book was written last year? Aha! You’re wrong! It was written in 1953. Some things don’t change—varying levels of academic-related stupidity among them.
This novel has many charms, though it starts a little slowly. Amis has a keen ear for dialogue and for bringing out the humor in the ordinary things that people say. I guess this helps the mild brand of satire that Amis uses, and I think it would have been really funny back in the Fifties. And it did push boundaries, if ever so slightly. Although none of the characters swear or have sex on the page, these things are mentioned. I wonder if thirty years before its publication authors just pretended that swearing and sex didn’t exist.
The smaller-issue problem I have with this book is Jim’s casual sexism and how that makes me unsympathetic towards him as a character. (I know, that sounds like a big deal, but wait until you hear the larger-issue problem I have.) Jim Dixon is clearly meant to be a sympathetic figure, and sure, we pull for him when his boss is equivocating about Jim’s future, but Jim is utterly, unapologetically focused on women for their appearance. “It was a pity she wasn’t better looking,” he thinks on page 37, going over his reasons why he isn’t going out with a female professor. That is just the first instance I can think of, but it happens quite a bit. This wouldn’t even be so bad if the double standard weren’t so apparent—on page 2 we get a picture of Jim as a short, rounder, weak-shouldered man who doesn’t have much going on in the looks department. Not only that, but Jim is an alcoholic, and he’s borderline sociopathic (calling up his romantic rival and pretending to be a newspaper reporter, lighting his host’s bedsheets on fire, and finding his waiter after the bill has been paid and taking the tip back). Even all that wouldn’t be so bad if the point of the book wasn’t that the older generations have really mucked things up for the newer ones, and society has to change in order to improve. It makes Jim look like a hypocrite, since he’s clearly taking his social cues from that same older generation—taking them right into the second half of the twentieth century.
In spite of its sometimes-cringe-worthy attitude, the book is good fun—which brings me to my larger problem with the book. This book was written in a different time, when books, even serious books, were meant to be consumed as entertainment. Lucky Jim has some genuinely funny parts, but it’s not as funny as, say, a Wodehouse book, and it doesn’t rely on any gimmicks to keep the reader interested. In other words, it might not flashy enough for today’s readers. It’s just a book about a professor trying to make his way in the world—not that in addition to also trying to stop Lucifer from rising from Hell, to give one example of a book that might go over well these days. It’s low-key, and would make a fine rom-com with Katherine Heigl (Is she still a thing?), and it would be completely unpublishable were Kingsley Amis writing it today. Books like this can’t be written anymore, because people don’t read for entertainment nearly as much as they used to, and that makes me sad.
I’m not going to whine anymore. If you don’t read it, it’s your loss—as long as you can get over the outdated attitudes and general unpleasantness of the main character. It’s enjoyable, and laugh-out-loudable, and I especially recommend it if you have a bit of Anglophilia in your veins.