BEING A READER

Reading ‘The Roots of Heaven’ and discovering… the roots of heaven

The book trade seems to be driven by the concept of the bestseller – that at a given time, a given book will connect with a wide audience. What interests me more is the phenomenon where a specific book connects with an individual in a way that perhaps no other book will. These are the moments when a book enters your life like divine intervention, where it speaks to you in a profound way.

It is even stranger when a book does so at a particular time, when that same book at another time did not. I am now rereading a book I had read five to ten years ago. At the time, I found it a bit frustrating and disappointing. Now I’m reading those very same words and I am awestruck.

When I read Romain Gary’s The Roots of Heaven originally, I had done so after happening on a comment by Colin Wilson, who was once famous and influential for having written a book called The Outsider. (Look it up, read it.) Wilson said The Roots of Heaven was one of the classic novels of the Twentieth Century. I had high expectations, but the book just seemed unnecessarily jumbled to me, ruining the drama of the story by the constantly shifting perspectives. Somehow the basic structural device of the book had passed me by.

An interesting fact about my original reading of the book is that I had found it second hand, in a mass market paperback edition. The type was tiny and the book physically tatty. I had assumed that such things don’t matter, that it’s all about the string of words and the meaning they carry. But over time, I had begun to wonder about this. So for this reading I got hold of a different copy of the book.

I have, since that original reading, read a fair number of books by Romain Gary. Some I loved, some intrigued me, some left me cold and at least one I could not finish. Unlike many writers (and, I suspect, most commercially successful ones) Gary avoided writing the same book over and over again, leaving behind a somewhat spotty bibliography, though one where the highs are Everest-like. Despite their unevenness, a very distinctive sensibility informs all his work.

Whether the very different reading experience I’m having now is a result of having a physically more attractive book in my hands or whether it is because of my deeper appreciation of Gary’s philosophical slant, I cannot say. Perhaps I had undergone some significant psychological development in the meantime I cannot yet identify. Whichever it is, reading The Roots of Heaven now is nothing like it was before.

The book no longer seems confused to me. The entire story is framed via retellings, different bit players in the events relating their experiences of the central events to other bit players. It’s a bit like those David Hockney snapshot collages. You get glimpses of events from different angles – you see things from everyone’s point of view, except those of the main protagonist, Morel.

He’s a man who seemingly defected from his own species, he has gone over to the elephants, leading a crazy campaign to outlaw elephant hunting. Dogs are no longer big enough to be our companions, he claims, we need something bigger, like elephants, those magnificent symbols of liberty. This sets of a dramatic chain of events in French colonial Chad, a decade or so after World War Two.

Apart from its other qualities, The Roots of Heaven is a very Green book in that it has conservation and man’s destruction of nature at its core, at a time when such issues could still be argued without the blinding emotional charge it has acquired over the last 50 years.

I’m reading The Roots of Heaven exceedingly slowly. Because on every page, I find descriptions, characters and ideas that give me pause. I find myself with the urge to write down quotes from the book and am stopped only by innate laziness and the realisation that I’ll end up with a manuscript about a quarter as long as the whole book.

Maybe you’ll struggle to find this book now. It has long ceased to be a bestseller. And even if you find it, you may not connect with it. Or it may be the wrong time for you, as it used to be for me. But, god, when that connection takes place, reading becomes the root of heaven.

BEING A READER, Crime books

Luiz Alfredo Garcia-Roza – the cop from Ipanema goes walking

Inspector Espinosa, hero of the crime series by Luiz Alfredo Garcia-Roza, is a reader of crime stories himself.  His flat in Copacabana is overflowing with books. You get the feeling this is where he wants to spend all his time, but… there’s crime on the streets and he has to solve it. On foot, mainly.

As a real cop, Espinosa would be unusual. As a crime fiction hero, not so much. He’s a thinking man, but not averse to action and the odd bit of bed gymnastics. The kind of hero a professor of psychology or philosophy might dream up in his leisure hours. (Which  reflects Garcia-Roza’s academic career in those fields before he turned to writing at the age of 60.)

The appeal of the Inspector Espinosa series lies in the way the reader is aware of the depth of thought behind it, without those deep thoughts getting in the way of the entertainment.

After rushing through his first novels as fast as I could find them, Pursuitbroke my momentum exactly because in that book the balance tilted too far into psychology. After ploughing through it with a heavy heart, I actually stopped looking for Garcia-Roza’s books. However, nostalgia for those early books got the better of me this week and I tried his latest, Alone in the Crowd… and it was good!

I now have the exciting prospect of hunting out Blackout and seeing if that’s up to his usual standard as well.

Apart from tightly plotted, psychologically motivated crime stories, you get the additional bonus of virtual visits to what must be a fascinating environment – the inner suburbs of Rio de Janeiro. The action takes place at Ipanema beach and the Copa, Copabana. (Which is much more fun if you can keep Barry Manilow at bay.)

Read them in order, starting with The Silence of the Rain, and you have a good 12 hours or so of low-cost travel to an exciting destination where everyone goes ah!

BEING A READER, Crime books

Dutch crime writer Janwillem van de Wetering’s offbeat cops

Janwillem van de Wetering was up against it. Not only did he write in a language other than English (initially at least), but his crime novels are something of an acquired taste. It is a taste worth acquiring though, and Van de Wetering had significant success in his lifetime.

My library service recently seems to have made the decision to dump all their Janwillem van de Wetering novels, which is sad. The good news is that I was able to pick up a fair number of them for next to nothing.

His main series of books features four cops of the Amsterdam municipal police, where the author himself worked part-time. The commissaris, whose name is never given, leads the murder squad. He suffers from rheumatism and doesn’t suffer fools. Wise and detached, he is the guru of the team.

They are supported by the young Cardozo, who tends to be in the background, doing the less glamorous work.His supporting team includes Grijpstra and De Gier, the two main characters in the series. Grijpstra is middle-aged, heavy-set and had dreams once of being a painter and jazz musician. De Gier is young, strong and handsome, a womaniser with a yen for Zen. (Van de Wetering was a Zen Buddhist acolyte in Japan for some time.)

The Amsterdam series, as the De Gier and Grijpstra novels are often referred to, usually features less violence than you’d expect in a typical American crime novel, and proportionally more reflection.

Much of these Dutch crime books are taken up by conversations, especially between Grijpstra and De Gier. These tend to go off on tangents. The two cops are as likely to discuss philosophical attitudes as the facts of the cases they’re trying to solve. And when the team does solve a case, it is often by very unorthodox means, meting out their own form of justice.

If you don’t keep your wits about you, these conversations can become confusing, with the result that the characters blend somewhat. In this sense, they are the most significant weaknesses of the Grijpstra and De Gier crime series. But they are also what give these books their charm.

Personally, I find Janwillem van de Wetering’s Amsterdam crime novels a welcome respite from the mindless violence that seems so prevalent in crime writing. I make a point of reading a Grijpstra and De Gier novel every now and then. If you haven’t tried one of this Dutch writer’s books, do yourself the favour. And read with relish.