On my bookshelf: This is Happiness – Niall Williams

On the face of it this is a simple story. But at three hundred and eighty pages there has to be more than that. And sure enough, for our setting we have a lovingly painted, highly detailed, and very broad canvas of life. This is rural Ireland, a place that began to emerge from the nineteenth century sometime in the late fifties with the arrival of the telephone, then electricity. But its embrace of the modern led in many ways to its demise, for this is an Ireland that no longer exists. The location is vague – County Kerry, a fictional village called Faha, somewhere on the Shannon river. It’s quiet, remote, and it rains,… and rains and rains, until one day, around the miracle of Easter, the sun comes out, and stays out,…

Our narrator is Noe, now an elderly man, looking back on his time in Faha, when he was seventeen. He had been sent away to train for the priesthood, but abandoned it. Now he’s gone to live with his grandparents Doady and Ganga while he decides on his future, or rather while his future reveals itself to him. The electricity company has also arrived and its men are erecting poles to bring the wires for electrification. They bring with them Christy McMahon, a mysterious, charismatic and well travelled man. He lodges with Noe’s grandparents, and he and Noe form a bond. But Christy has another reason for coming to Faha. He confesses to Noe that he wronged a woman, long ago, and has come to find her, and now, in the autumn of his life, make amends. Haunted by the idea Noe finds himself an accomplice to Christy’s vague plans. Then Noe himself falls beautifully, chastely and intensely in love,…

This is a novel to be read slowly, to be savoured for its depth, it’s wisdom and its richness. If you think reading a half a page describing the different kinds of rain blowing in off the Atlantic will irritate you, then I advise against it. But then again I’d sooner say that to enter the world of Niall Williams is to enter a world so richly layered the ordinary becomes magical. And, with a lyrical prose such as this, that half a page of rain is no bother at all.

There are a bewildering number of characters, as there are in life. Many are passing vignettes, but they linger in the memory, and it’s hard to convince yourself afterwards you never actually met them. As for the central characters, they will grow as close to your heart as your own family. Doady and Ganga, become your own grandparents. Faha is your own fondly remembered place of retreat and healing from tragedy. But it’s a place already under threat from a crass modernity, as symbolized by the coming of electricity, and the promises of “convenience” that threatens to eclipse a slower way of life, one led closer to nature, and to God.

There’s a danger in writing nostalgic accounts of places on the edge of time, like Faha, that we gloss over the terrible hardships and the poverty that underlies the bucolic sheen. This was clearly a tough place to live, and it bred a tough, resilient people. But there is also a wry humour in them, and Williams brings this out beautifully. Doady and Ganga’s house, Ganga says was built in a puddle. This explains the mushrooms sprouting along the line of the dresser. And at the slightest hint of sun, belongings are hauled outside to dry from their exposure to near perpetual damp. But then all memory is selective. It is sentimental and forgiving of hardship when its quest is for the metaphysical origins of love, and the nature of happiness.

It is Christy who nails it one evening as he and Noe are setting out by bicycle along the quiet lanes, in search of pubs and music. Both are trailing their respective tragedies. Noe is looking ahead into what he sees as the abyss of his future. Christy is looking back into the abyss of his past, both men caught also in grip of a possibly doomed love:

“This is happiness,” says Christy. And Noe understands the meaning in it, that it’s true simply by virtue of the fact both of them are alive in the world to say it. Reading this story was a sublime and deeply moving experience and I shall remember it for a long time.

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Brown shoes with blue trousers

 

I’m struggling with my reading at the moment – a couple of difficult books on the go. One of them is Erich Neumann’s Origins and History of Consciousness. The other is Bernado Kastrup’s Decoding Schopenhauer’s Metaphysics. The Neumann is from 1949, a distillation of Jungian thinking on the nature of the unconscious. The Kastrup is a recently published book that revisits the eighteenth century idealist philosopher Arthur Schopenhauer.

Reading books like this, way beyond my intellect, I accept I’ll only grasp them dimly and in the hope the effort goes some way towards expanding the mind, even a bit. But their greater impact is on the imagination, where even imperfectly grasped imagery can take on a life of its own, dance with images gleaned from elsewhere, and in ways the authors never intended. And there are some startling images in those books.

It’s thus, stumbling through other books, I’ve gleaned bits of metaphysical ideas over the years, and begun assembling a story that’s making sense in layman’s terms – if not in its details, then in its broad generalities. But sometimes I wonder if I’m mistaken, not so much in the truth of these matters – though there is always that of course. It’s more the question of embarking upon such a quest in the first place. Is my head, in fact, pointing in the wrong direction?

When we speak of metaphysics we’re talking about the origins and the inner workings of the universe, also its reflection in the structure and the flow of the human mind. It’s unlikely you’ll get any of this if you’re a materialist, and view the universe as comprising purely material stuff that was big-banged out of nothing. There is another view though – the idealist view – that there is no material, that what we experience in the world is a result of our being conscious within a greater consciousness, a consciousness that sets the stage, and the rules we play by.

If materialism is true, then fair enough, the game is up, life is absurdly pointless, and we’re all doomed. But with idealism, everything is still to play for, and the possibilities worth exploring. I used to be a materialist – as an engineer you more or less have to be – but that stopped making sense for me a while ago. Idealism may be wrong but it’s much more fertile ground for the imagination.

It was once intimated to me that we already know the true nature of things, but we’ve forgotten them as a precondition of being born. At some point though, when we fall asleep for good, we’ll go: “Oh yea, I remember now!” I say it was “intimated”, and the realization did feel very real at the time, but of course I’ve forgotten it all again now. However, the point is, why spend decades of your life banging away at this stuff, when you’ll be gifted it all back in crystal clarity anyway? And if such talk is nonsense – as it may well be – then it doesn’t matter either way, does it? So why the imperative to probe the metaphysical? And if it was so terribly important for us to know – I mean to help us all get along in the world – we’d be born with a greater sense of it than we have, wouldn’t we?

I don’t know. Would we? Do we, actually? Are those haunting aspects of existence, things like love and beauty, not metaphysical intimations? And what about dreams?

Are you still with me?

What I mean is, pursuing the metaphysical can be like scaling a waterfall when it’s in spate. The general flow of being is in the other direction, and perhaps we’d do better to flow with it. Maybe it’s a reaction to the chaos of a world gone mad that we’d even bother trying. Maybe it’s one’s apparent inability to effect much change or understanding of things that we want to escape from the madness. So we seek to resist the flow of life, which seems permanently bound for disaster, and swim back upstream to rest in the formless, as far away from ground zero as we can manage.

But then the chaos we see in the human world is a result of those same intrinsic energies that give vent to life. Left to itself, the natural world will thrive on those energies. It will be red in tooth and claw, and endlessly self consuming, but it will not be self-reflective. It will be ignorant of its own beauty, and that strikes me as a gap worth filling.

Self reflection is an imperfect instrument though, and comes with risks. It can distort how we see the world. Sit that on top of largely simian instincts and you can see how easily we land ourselves in trouble. If we are not to destroy ourselves, we need to wise up! But what can one do if the route to wisdom is so difficult, and only the Neumanns and the Kastrups can attempt an understanding of it, for are they not too few to form a critical mass? Must the rest of us wait for a divine transformation to enlighten us?

Imagine, jealousy, greed, hate and the evil that is lifestyle blogging, all gone in an instant. Imagine, enlightenment as instinctive as the knowledge never to wear brown shoes with blue trousers, enlightenment that we can look back upon our history with equanimity and wonder how there could once ever have been a people so benighted.

There are those in the human development movement who believe such a thing will happen, but this sounds more to me like the second coming of the Christians, a thing I suspect should be interpreted in terms rather less than literal. In other words, I’m not holding my breath. I’m reminded that in the Daoist way of thinking, mankind stands with one foot in the world, the other in the heavens. Some of us are more inclined one way or the other, but the important thing is to find a balance. Which means,…

It’s time to set the Neumann and the Kastrup aside for a bit. Instead, I’m picking up Le Carre’s “Agent running in the field“, and, delight of delights, I am to spend a week, holed up in tier three isolation, with no interruptions, and Niall Williams’ “This is Happiness.”

Let it rain!

[Unless you’ve got plans, then let it shine]

Graeme out.

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On My Bookshelf – Four Letter of Love -Niall Williams (1997)

I can’t believe it’s twenty years since this book came out. I was in the Lake District on a walking holiday. A bill for car repairs the week before had left me a bit short and I calculated that after food and petrol I’d have about a tenner to spare. I spent £5.99 of it on this book for company in the evenings. It took me close to the wire, but it was money well spent. I don’t remember any of the walking now, I just remember reading this book in the B+B.

One part is set in a rural suburb of Dublin and describes the relationship between young Nicholas and his father, a man who gives up a steady but uninspiring career in the civil service in order to paint. He believes God has called him to do it, but it’s a calling that also plunges his family into poverty. Then we have Isabelle, growing up on a small island off Ireland’s west coast, her childhood overshadowed by an incident in which her musically gifted brother was struck down by a life-changing seizure, and for which she nurses a deep, though irrational, wound of guilt. She’s a bright girl but flounders when away at boarding school in Galway, squanders her chances of university and settles instead with a cloth merchant, Peader. By turns passionate and cold, tender and violent, Peader is not a good match, but Isabelle goes along with it, thinking of it as her punishment for past sins.

For most of the story Nicholas and Isabelle live entirely separate lives, and it seems impossible they’ll ever meet. But we know they must because in the opening of the book we are told, somewhat enigmatically, Nicholas was born to love Isabelle. It’s a mystery why or how, but all that’s just what’s on the surface, the bare bones, if you like, and it’s a tiny fraction of what this novel is about. The author’s characters are drawn from humble lives, the kind of people you wouldn’t second glance on a bus, yet through their struggles they take on such noble and god-like proportions it’s hard to see the world in quite the same way again.

We have Nicholas’s father, on the edge of madness, gaunt, white haired, messianic, striding into the west in broken old boots with his paints and his easel while his family starves back home. Ordinarily we’d dismiss him as a selfish old fool, but through Nicholas’s eyes, though at times he hates his father for what he’s done, his overriding love for him elevates their story to the rank of an Homeric Odyssey. And Isabelle’s father, a small-island schoolmaster, sometime poet, and semi-drunk, raising his pupils with kindness and compassion, and a dedication such that they will not be looked down upon by their mainland peers – another small life, but for all of its obscurity it is also heroically huge and inspirational.

Religion runs strongly throughout the book, God being ever present in the workings of fate, in the lives of the characters and the events that touch them. The characters wait on signs that will tell them what to do, they interpret them as best they can, and they have visions, see ghosts via the medium of dreams or delirium – all of this in the sense of a folk religion that’s been overlaid with a tradition of Catholicism. You can read the universe and your life as a meaningless, or you can see it as something more, something epic in which fate and love are bound together, a visionary experience of life in which we are invited to take our part. The choice is ours. The latter adds colour and meaning to our days on earth, and makes a kind of mysterious sense of things, if only in retrospect, while the former adds nothing.

There is only one priest in the story, and he shuns the idea of miracles, is afraid of them, would rather the Bishop had the pleasure of them, and when the miracles start to happen, the protagonists literally shut him out. It’s more that God is in every stone of Ireland, in the breath of the wind, in the mist over mountain and bog, a God that is immediate and personal. It’s a book that stirs the spirit and ravishes the senses. It is not a romance, but it is deeply Romantic, and the language is lyrical, pellucid, utterly mesmerising. This is one of the most powerful and compelling works of fiction I have read, and I have re-read it several times now, always something fresh leaping out – a passing observation, a few lines of description triggering an avalanche of revelation.

The moment when the author reveals how Isabelle and Nicholas are finally going to meet will take your breath away and it’ll have you laughing as much out of relief as anything else. But this is not your usual “will they won’t they” kind of story, the kind to be forgotten as soon as the last page is turned. The ending is subtle, powerful and, like the rest of the book, rich with meaning, and it leaves you wondering.

It’s a story you’ll be carrying around in your head for a long, long time.

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