There were verbalcuffs at the Edinburgh Book Festival last weekend, with Irvine Welsh grabbing the biggest, splashiest headlines as he accused the Booker Prize of squeezing out British regional and vernacular voices in favour of the posh and the exotic. His wingman was another Scottish author, Alan Bissett, who argued that “protectionism for local cultures is sometimes necessary” but then appeared to contradict himself:
I worry how style can exclude. You think about the people who are not convinced by literature and find it for a small elite… Style risks becoming fetishised and it becomes stylish people talking to one another.
Well, yes, but if you’re reading from outside a particular regional tradition, such as the urban Scots of Bissett and Welsh and James Kelman, does that style not have the potential to exclude as well? Especially if it’s protected; what are we talking about, Celtic quotas in the Booker shortlist? And how much effort should an author put into reaching out to the excluded and the unconvinced? If style – fetishised or not, whether it derives from Hampstead or Hampden Park – is such a barrier, maybe we should all write in the manner of government websites, with clarity and ease of comprehension the only criterion that matters a damn. Which would of course not only disqualify from consideration the kinds of book that tend to win the Booker Prize but also those that offer a gateway into what Bissett would describe as “local cultures”. I’m guessing that Barry Hines’s A Kestrel for a Knave is the sort of book that Bissett and Welsh would hold up in opposition to the consciously stylish Hampstead tendency, but I found it pretty bloody exclusive when I first read it at the age of 12 or so; I didn’t talk that way, didn’t know anyone who worked down t’pit, didn’t feel any particular desire to train a bird of prey. For the first few pages I wasn’t really sure what was going on. But I persevered and became utterly absorbed in Billy Casper’s world and remember sobbing myself to sleep after I’d finished. And if I hadn’t believed there might be something for me there, I might not have pushed on with Joyce or Nabokov or BS Johnson. I’m not saying that writing must be challenging to be good, but for every reader welcomed in by a writer who goes out of his way not to exclude, there will be another who just gets bored by the blandness of it all. Inclusiveness also excludes.
And in any case, is there really such a thing as style-free writing? I’ve seen the prose of Magnus Mills described as such, but the apparent blank artlessness he offers is surely a style in itself. Or is it just a euphemism for mainstream fiction, where function takes precedence over form? In a recent piece about the film-maker Christopher Nolan, David Bordwell confronts those who take issue with his sometimes clunky story-telling style:
On a vaguely similar note, the annual to-me-to-you about whether exams have been dumbed down up or sideways prompted me to take a look at some recent GCSE papers. One English exam from last year had a practical criticism component, comparing two poems about social outsiders. No problem there, except that the examiners were helpful enough to define three apparently difficult words therein; namely “chide”, “gibber” and “dissuade”. I’ll give them the benefit of the doubt on the first two; but if candidates can’t work out unaided that “dissuade” is pretty much the opposite of “persuade”, I don’t think their grasp of English – as distinct from their ability to regurgitate what the teacher has told them is going to come up in the exam – is all that great. Sorry, is that too exclusive? Too stylish, maybe?
And in any case, is there really such a thing as style-free writing? I’ve seen the prose of Magnus Mills described as such, but the apparent blank artlessness he offers is surely a style in itself. Or is it just a euphemism for mainstream fiction, where function takes precedence over form? In a recent piece about the film-maker Christopher Nolan, David Bordwell confronts those who take issue with his sometimes clunky story-telling style:
Can you be a good writer without writing particularly well? I think so. James Fenimore Cooper, Theodore Dreiser, Sherwood Anderson, Sinclair Lewis, and other significant novelists had many virtues, but elegant prose was not among them. In popular fiction we treasure flawless wordsmiths like PG Wodehouse and Rex Stout and Patricia Highsmith, but we tolerate bland or clumsy style if a gripping plot and vivid characters keep us turning the pages. From Burroughs and Doyle to Stieg Larsson and Michael Crichton, we forgive a lot.I’m guessing that in the last sentence he means Edgar Rice Burroughs and Arthur Conan Doyle rather than William S and Roddy, but you never know, do you?
On a vaguely similar note, the annual to-me-to-you about whether exams have been dumbed down up or sideways prompted me to take a look at some recent GCSE papers. One English exam from last year had a practical criticism component, comparing two poems about social outsiders. No problem there, except that the examiners were helpful enough to define three apparently difficult words therein; namely “chide”, “gibber” and “dissuade”. I’ll give them the benefit of the doubt on the first two; but if candidates can’t work out unaided that “dissuade” is pretty much the opposite of “persuade”, I don’t think their grasp of English – as distinct from their ability to regurgitate what the teacher has told them is going to come up in the exam – is all that great. Sorry, is that too exclusive? Too stylish, maybe?
And while I’ve got you, I’ll just reiterate my response to Rachel Cooke’s description of Ian McEwan as “the nearest thing to EL James that literary fiction has right now”. Eh?
