BEING A READER

Is Emile Ajar the greatest writer who never lived?

Most of the books I read were written by dead people. But my favourite of all the books I read in the last ten years was written by a writer who never lived. Emile Ajar was not only a pseudonym, it was the pseudonym of a writer who only pretended to exist.

Emile Ajar wrote four books, published in France between 1974 and 1979. One of them was the top-selling French novel of the 20th Century. He was awarded France’s top literary prize, the Prix Goncourt.

In the media frenzy surrounding the success of this mysterious writer, he was finally outed as one Paul Pavlowitch. But then someone noticed that Paul Pavlowitch was the nephew of one of the greatest French writers of the century, Romain Gary, and questions were raised…

Romain Gary (real name: Roman Kacew) had already won the Prix Goncourt for his 1956 novel The Roots of Heaven. This book, incidentally, was named by Colin Wilson of The Outsider fame as one of the masterpieces of the 20th Century. It is full of truly wonderful things. Personally, I wish the author told the story chronologically instead of shifting the perspective so often. However, having now read a number of Romain Gary books, I’ll return to The Roots of Heaven more attuned to this author’s decidedly otherwise sensibility.

Back to the Prix Goncourt: The rules of the prize stipulate that an author can only win it once. Could this have been the reason why Emile Ajar refused the prize, that he had already won it?

However, such speculation was quelled by Pseudo, an autobiographical novel in which Paul Pavlowitch described his mental breakdown, his troubled relationship with his uncle (a clear reference to Romain Gary) and all the kerfuffle around his identity. This erased any doubt that he was the author of the Emile Ajar books.

After Romain Gary’s suicide in 1980, this entire book was revealed as a hoax perpetrated by Gary to protect his identity as Emile Ajar. His nephew Paul Pavlowitch was a willing participant in this, even granting media interviews.

Pseudo was finally published in English in 2010 under the title Hocus Bogus, but despite its many dazzling sentences and twists, it probably only holds interest for literary historians. The first Emile Ajar book, Gros-Calin, has never been translated into English.

The other two Emile Ajar books – The Life Before Us (Momo on first publication) and King Solomon – are well worth seeking out. Both are now openly credited to their true author, Romain Gary.

The first of these is the one that made “Emile Ajar” famous. It is a beautiful book. I found Momo a trifle cutesy with its child narrator, but 1.2 million buyers and the Prix Goncourt judges suggest I’m wrong.

The second is the best book I’ve read since 2000. King Solomon is one of the few books that had me laughing and crying, gobbling up sentence after sentence. I’ve read it three times in ten years and I’m still not done with Jeannot, Madame Cora and King Solomon. It is a delight to read, and often profound.

Interestingly, while Gary was having his amazing success as Emile Ajar, he also wrote an outstanding book under his own name, Your Ticket is No Longer Valid (also published as The Way Out).

Add his first book, the traditional war story A European Education, and deeply amusing works such as The Ski Bum (which he wrote in English) and the science fiction novel Gasp, and it boggles the mind that Romain Gary isn’t much more famous. It’s almost like he didn’t exist.

BEING A READER, Crime books

The unsolved mysteries of Andrea Camilleri

Reading what must be my tenth Andrea Camilleri mystery featuring Inspector Montalbano, I was struck by a few mysteries of my own: Why, when there are so many authors and books to read, do I choose to read what pretty much amounts to the same book over and over? Secondly, why among all the series in the world, do I choose this one?

Here’s how the typical Inspector Montalbano book goes:

Our hero wakes up, thinks of dreams, food and his faraway girlfriend, Livia. The phone rings to alert him to or he witnesses something odd that leads to a can of worms. At his office, Catarella mangles the language and bursts through doors for comic relief. Other running gags involve Salvo Montalbano’s relationships with his superiors and colleagues in other departments.

Montalbano meets a woman who seems to fall in love with him. There is also the constant sexual tension between him and his friend Ingrid. Livia calls on the phone, gets mad, but they always seem to make up. The activities of small-time crooks may have Mafia connections. After many wrong turnings, Inspector Montalbano solves the case and sets up a trap for the criminals. In between, he eats a lot and makes acerbic remarks about Italian politics.

That more or less covers it. Yet, there I am, taking yet another one from the shelf.

Perhaps this has to do with having had a pleasant experience and wanting to relive it. Maybe it’s laziness, not wanting to be challenged. Maybe it’s comforting to know exactly what you’re getting into.

Which is strange. Because, if you ask, I’ll tell you what I want in a book is to be surprised, to have a unique experience. And yet what I read tells a different story, being the same story over and over… So I have to put up my hands and admit I’m intellectually lazy, more of a comfort seeker than I’d like to think.

As has been suggested, readers want to be surprised moment by moment, but not by the overall experience. That would explain why the most successful authors become brands, repeating the same formula until they’re rich and worn out enough not to care any more.

This still wouldn’t explain why, in choosing an Andrea Camilleri book, I bypass all the other new mystery series books on display. What is it about Camilleri’s books that’s so appealing?

The plots are clever, hang together and move quickly, but that probably goes for nine out ten other mystery novels. The writing is full of local colour and snappy dialogue, but that probably goes for eight out of ten other mystery novels. The character of Montalbano is mildly interesting, but certainly not inspired, which – just to bedevil the numerical sequence – probably goes for ten out of ten other mystery novels.

So why am I a repeat offender when it comes to these books and no other? … A case for Inspector Montalbano, I suppose.

BEING A READER, Crime books

Bumping into Paco Ignacio Taibo II

It wasn’t a bit like the time I ran full-tilt into singer José Feliciano. There he was, a blind man trying to cross a foreign airport terminal and some kid comes crashing into him. I still feel bad about that. No, I’ve never encountered Paco Ignacio Taibo II in the flesh. Nor, for that matter, had I met any other Paco Ignacio Taibo – number one, three or whatever.

I didn’t even know PIT II, as he apparently refers to himself, existed until I sort of bumped into him by accident.

What happened is this: I wandered into a library over lunchtime and saw they had some old books for sale – three books for two dollars. Almost straightaway, I spotted two books I wanted. But taking only two seemed like a waste, so what to do about a third?

I looked through the names, but nothing rang a bell. I was running out of time. Never one to say no to a cheap crime novel, I ended up taking one marked with the library’s gun-sticker, the icon they use for crime stories – No Happy Ending by Paco Ignacio Taibo II. I could always throw it away if it’s useless, I thought.

When I finally started reading the book, I was completely unsuspecting. I was just going to read a bit to see if it grabbed me.

Many books, I must confess, don’t pass the first sentence test for me. Others I stay with for a paragraph or a page or a chapter and if I still haven’t felt that frisson of excitement – either because of style or content – that’s it. Some I return to later, when a different mood or mindset might make me more susceptible to whatever the book has to offer. Others never see me again.

This one started with direct speech: “There’s a dead Roman in the bathroom.” Turned out to be a Roman centurion in full regalia. This in Mexico in what is presumably the late 1970s.

Okay, so now I’m interested. On top of that, the writing has a certain nonchalance, an authentic style, which in itself is a rare enough thing.

About 170 odd pages later (and yes, they are odd), I want to fling the book down. The hero just died…

This is upsetting in the extreme. Heroes don’t die, not in entertaining crime novels. But then, this one is called… No Happy Ending. A bit of a clue, that.

Apart from the fact that this is one awesome little book, the incomparable Paco Ignacio Taibo II then wrote a sequel. Yup, a sequel. Not a prequel, a sequel. As in set after the events of No Happy Ending. Featuring the same detective who died in the first book…

How he does it? Sheer genius. I bow down, overawed.