The Year of Reading Dangerously: How Fifty Great Books (and Two Not-So-Great Ones) Saved My Life

by Miller, Andy

  Dedication

  For Alex, love Dad

  Contents

  Dedication

  A Word of Explanation

  I

  Book One

  Book Two

  Books Three to Five

  Book Six

  Books Seven to Nine

  Book Ten

  Book Eleven

  Books Twelve and Thirteen

  II

  III

  Books 28, 29 and 31

  Books 41 and 42

  Book 45

  Books 49 and 50

  Epilogue

  Appendix One

  Appendix Two

  Appendix Three

  Bibliography

  Notes for Reading Groups

  Acknowledgements

  Exclusive Excerpts from the Personal Blog of ‘Leonard Bast’

  About the Author

  Copyright

  About the Publisher

  WARNING!

  THIS BOOK CONTAINS SPOILERS.

  ‘I long to reach my home and see the day of my return. It is my never-failing wish.’

  Homer, The Odyssey

  ‘What’s the point of going out? We’re just going to wind up back here anyway.’

  Homer Simpson

  A Word of Explanation

  Let me begin on the back foot and linger there awhile.

  This book is entitled The Year of Reading Dangerously. It is the true story of the year I spent reading some of the greatest and most famous books in the world, and two by Dan Brown. I am proud of what I achieved in that year and how the experience changed my life – really altered its course – which is why I am about to spend several hundred pages telling you about it. However, the book you are holding has not always been called The Year of Reading Dangerously. I started out with that title but then had second thoughts. For a while The Miller’s Tales seemed like it might work. After that, I briefly considered Up! From Sloth, then The Body in the Library. Other possibilities included Hunting Paper Tigers, Real Men Don’t Read Books, Memoirs of a Born-again Pessimist, Croydon Till I Die and Bast Unbound. For about five minutes, it was called Outliars. Then there was Against Nature II: Resurrection, which was followed by What Are You Staring At?, which in turn gave way to We Don’t Need to Talk About We Need to Talk About Kevin (To Have a Good Time). After one particularly difficult morning, I amended the title page to F**k the World, I Want to Get Off. Finally, however, that first thought prevailed and I turned back to The Year of Reading Dangerously, or, to give it its full title, The Year of Reading Dangerously and Five Years of Living with the Consequences.

  Because there are a lot of Andy Millers in the world, several of whom are writers, I also contemplated a change of pen name. For the record then, this book was not written by Andrew Miller, the bestselling novelist, or Andy Miller, winner of the Yeovil Literary Prize for poetry, or Andy Miller, the television scriptwriter, or A.D. Miller, whose thriller Snowdrops was shortlisted for the 2011 Man Booker prize and whose Christian name turns out to be Andrew. Nor was it written by Andrew Miller, pitcher for the Boston Red Sox, Andy Miller, guitarist in the Britpop band Dodgy, Andrew Miller, the Labour MP for Ellesmere Port and Neston, Andrea Miller, founder of Brooklyn’s Gallim Dance company, nor any of the hundreds of Andy Millers on Facebook, especially the one who counts ‘Women bringing me sandwiches’ amongst his activities and interests. Each of these Andy Millers has something to recommend him – or her – but none of them is me. So for this book, I have decided to stick with Andy Miller because that is the name of the man who wrote it; I make my own sandwiches (see page). Further activities and interests will be made abundantly clear in due course.

  It may come as a relief to learn that the book’s subtitle has remained immoveable throughout and that, by and large, it is factually accurate: How Fifty Great Books (and Two Not-So-Great Ones) Saved My Life.

  The backbone of The Year of Reading Dangerously is a list of fifty books; I started out with just a dozen or so but then found I couldn’t stop. In an age of communications overload, we seem to find lists like this irresistible. As we are called upon to consume ever more information and broadcast quick and decisive opinions, so we are drawn to this basic method of data-handling: directories of best and worst, top hundred countdowns, another 1001 things to do before you die. The reader is at liberty to flip to Appendix One: The List of Betterment (see page) whenever he or she likes, that’s why we have included it. However, my list differs from others in one crucial regard: it is neither a prescription nor a set of numbered instructions. Rather, it is the inadvertent by-product of the process described in these pages. It is the cast left by the bookworm.

  Fig. 1: Profound misconception of the work in the mind of uncomprehending reader.

  (courtesy BodyParts3D, made by DBCLS)

  Fig. 2: The reality.

  (courtesy Gary Houston)

  The Year of Reading Dangerously emerged from an honest attempt to read a number of books which, for reasons which will be divulged later, I had succeeded in dodging during an otherwise fairly literate thirty-seven years on Earth. If you glance through the titles and are surprised at the omission of certain novels or authors, or certain types of novel or author, it is because either I had already read them or I did not want to. Likewise, if you are unconvinced by a particular non-canonical choice, it was not an attempt to be unorthodox or provocative but simply intuitive – intuitive and honest. At a certain point, if I felt like reading The Silver Surfer, say, or The Epic of Gilgamesh, or something by Henry James, Julian Cope or Toni Morrison, I did so. There were no quotas. This selection of books, therefore, does not constitute a deliberate or alternative canon. If you scan Appendix One: The List of Betterment, and think to yourself, hang about, where is Updike, Woolf or Trollope? Martina Cole or Jules Verne? That’s not the novel by Cervantes I’d have chosen . . . What about Ulysses? The Catcher in the Rye? Girl With a Pearl Earring? How can this list be taken seriously when it finds no place for my favourite authors or at least those writers I consider indispensable?, then I respectfully suggest you write your own book – unless your name is Andy Miller, in which case you have probably already done so.

  Above all, wherever possible I tried to avoid bad faith. First I lived this book. Then I thought about it for ages. Then I wrote it down.

  So the List of Betterment represents a diary rather than a manifesto; a ledger, not an agenda. I am not urging you to read all the books in this book – there is no need, because somewhere in the back of your mind you will already have a tentative list of your own, the contents of which are drawn from your curiosity or enthusiasm or guilty conscience, rather than mine.

  What kind of a book is The Year of Reading Dangerously? To the extent that we are governed by the laws of copyright and ‘fair use’, it is a work of literary criticism. It is also a memoir and a confession. I have not tried to explain these books solely in terms of their relationship to other books; instead, what follows is the story of an attempt to integrate books – to reintegrate them – into an ordinary day-to-day existence, a life which was becoming progressively less engaging to the individual living it. In this book you will find footnotes, emails, personal reminiscences, blog extracts, recipes, potted biographies, strong opinions and jokes. You could conceivably use it as a reading group crib, though I don’t advise it; you might receive some strange looks across the savouries. This book also contains strong language and a Tweet, for which I apologize in advance (the Tweet, not the cursi
ng). Please note: although I read fifty great books in a year, I have not talked about every single one of them in these pages. This is either because I had too much to say or too little. I have attempted instead to give you a sense of the journey, its highs and lows, rather than laboriously describing each one of the rest stops. This is a book, not a blog; and the great books I have chosen to write about here are the ones which encapsulate the major themes and recurring motifs of my year of dangerous reading. Also, Perennial told me they didn’t have enough paper for all fifty.

  In 1945, the author Malcolm Lowry was asked by his publisher to account for the idiosyncrasies of a novel he had just submitted called Under the Volcano (Book 35). In the persuasive forty-page letter he wrote in reply, Lowry described his book as follows:

  ‘It can be read simply as a story which you can skip if you want. It can be read as a story you will get more out of if you don’t skip. It can be regarded as a kind of symphony, or in another way as a kind of opera – or even a horse opera. It is hot music, a poem, a song, a tragedy, a comedy, a farce, and so forth. It is superficial, profound, entertaining and boring, according to taste. It is a prophecy, a political warning, a cryptogram, a preposterous movie, and a writing on the wall. It can even be regarded as a sort of machine: it works too, believe me, as I have found out.’

  A sort of machine: I like that. Every book is a sort of machine and this one is no exception. You have to read it to find out how it works.

  What makes a great book? That depends both on the book and the operator. I think of Under the Volcano as a ‘great book’ because a) I like it and b) the body of expert critical opinion supports me in this view. But we must acknowledge that greatness recalibrates itself from person to person and book to book. To one reader, ‘great’ may denote unbridled cultural excellence, e.g. the greatness of Tolstoy or Flaubert; to another, it is an exclamation of pleasure, e.g. ‘One Day by David Nicholls: what a great book!’ It may be that when we speak of ‘a great book’ we are referring to a pillar of the Western canon: a classic, in other words.1 ‘Great books’ of this kind may be important but they are not always straightforward or entertaining. Some, such as Under the Volcano or Ulysses, may require other great books to help make sense of them. Difficulty in a book constitutes a sort of unappealing literary masochism to some; to others it is a measure of artistic genius. Either way, a great book does not have to be a good read to be a great book. Some books become great because the public embraces them en masse; others are judged great by the critical establishment despite public apathy – or even because of it. All these sorts of book feature in The Year of Reading Dangerously, which could yet be called Fifty Shades of Great. Every single book herein may be considered great in one way or another, either because it was born great, achieved greatness, had greatness thrust upon it, was declared great by Oprah, or came thirty-first in a poll conducted by Take a Break magazine or the Literary Review to find the greatest books of all time. And this even applies to the two not-so-great ones. I hope that’s clear.

  Recently, BBC TV broadcast the first series of My Life in Books, in which well-known personalities are interviewed about five special books which have shaped their lives. The day after the first episode, I was poking around a secondhand bookshop – nothing remarkable about that, as you’ll see – when I chanced on a volume with the mirror-image title, The Books in My Life. This was no more than a coincidence. The Books in My Life was published fifty years ago; I had never heard of it and I doubt the producers of My Life in Books had either. However, on closer inspection, The Books in My Life was similar to The Year of Reading Dangerously in a number of significant ways. Just as in this book, the author of The Books in My Life discourses at length on the stories he read as a child, the influence of fiction on his imagination, the conundrum of personal taste, the problem of ‘great books’. He incorporates letters and diary excerpts into the text. There are appendices which catalogue the author’s favourite titles; there is even a satirical, though not unserious, chapter entitled ‘Reading in the Toilet’. And, with a certain inevitability, the writer’s name is Miller. Somewhat spooked, I bought the book. On the up side, at least he wasn’t called Andy.

  The Books in My Life is the work of Henry Miller, author of Tropic of Cancer and other racy romans à clef. In the opening chapter, he offers a simple phrase to sum up the authors or books that had remained with him over the years: ‘They were alive and they spoke to me!’ I cannot think of a more eloquent definition of greatness than that and I borrow it from my predecessor and semi-namesake with gratitude. It encapsulates the type of book I was hunting for during my year of dangerous reading, books that were alive and that spoke to me while I tried to deal with the trials of everyday existence: commuting, working in an office, being a new dad, getting older. The Year of Reading Dangerously, then, is a book about great books – reading them, writing them – and how life can get in the way. Whether it is great in itself will depend on whether, as you turn the pages, the machine begins to hum; on whether it comes alive and speaks to you.

  Fig. 3: ‘Indubitably the vast majority of books overlap one another.’

  (birthday card from Julian Cope)

  The first decade of the twenty-first century was, superficially, a good time to be a book lover. You heard about a new book from a friend or on a television book club. Maybe a customer review caught your eye. You purchased the book from a superstore, or you bought the audio edition to listen to in the car or at the gym. Over a glass of wine, you talked about it with your friends or reading group. How did it make you feel? Were you broadly in agreement? Later, perhaps you saw the author discuss the same book at a sold-out event or literary festival. You raised your hand and asked a question; you got involved. And if you had the technical know-how, it became possible to achieve all of the above virtually. You read off the screen of an ereader or a tablet computer and shared your thoughts on the Internet. You tweeted and blogged, on the train or up the top of a mountain. The humble book was transformed from a clumpy bundle of paper and glue into a pass-key that unlocked a variety of interactive book-based experiences, most of which involved the chatty participation of other users. In comparison, the more traditional method of reading – i.e. sitting alone, looking at lines of words until the pages ran out – seemed distinctly starchy and pre-millennial.

  In short, this was a period in which the phrase ‘you’re never alone with a good book’ started to sound less like a promise and more like a threat.

  However, it wasn’t all stimulating debate, dry white wine and a healthy queue in the signing tent. At the same time these innovations were captivating a certain class of reader, libraries and bookshops were struggling to survive. Ever since the advent of the big chain bookstores in the 1980s, with their armchairs and coffee shops, local independent booksellers have found it hard to compete. Now the chains’ market dominance was threatened in turn by the twin forces of the big-box store – who offered deep discounts on the most popular titles, depriving booksellers of a vital source of income – and the Internet which, either in the guise of an online bookseller or as a provider of downloadable ebooks, can pulverise a bricks and mortar store in terms of stock. An average bookshop might hold a few thousand titles; the Internet provides instant access to these, plus millions more no bookshop could possibly contain, however super the store, comfy the chair or aromatic the coffee. Independent or otherwise, the dedicated bookseller started to vanish from the high street.

  Meanwhile, public libraries continued to lose funding and the support of the local authorities who ran them. Budgets for books dwindled away. For a while, it seemed as though these institutions might survive as ‘community hubs’ – Internet terminals were installed and politicians made speeches where they referred to the library of the future as ‘Facebook-3D’.2 However, in the wake of the credit crunch and the austerity cuts that followed, many libraries were deemed a luxury the community could no longer afford. Librarians were told their expertise was dispensable and that t
heir roles could be performed by unpaid volunteers. Library closures gathered pace. Accusations of ‘cultural vandalism’ abounded; legal actions were launched. Some were successful and some were not. School libraries suffered a similar fate. In bankrupt California, Governor Arnold Schwarzenegger proposed to scrap new school textbooks in favour of ebook and Internet access as the state’s main portal to knowledge: ‘It’s nonsensical and expensive to look to traditional hard-bound books when information today is so readily available in electronic form.’3

  Not very long ago, my family and I were staying at a cottage in the country. In the mornings, I worked on the second draft of this book – which was overdue – but in the afternoons we would explore the surrounding countryside or drive to the nearest town to pick up supplies from the local shop. The cottage was an authentic retreat and had no telephone or Internet access. One morning, I needed to double-check something I had written about Moby-Dick in Chapter VI. However, my copy of Moby-Dick was at home on the Shelf of Betterment. Never mind, I thought, if we go into town this afternoon, I’ll find a copy and look up what I need.

  But Moby-Dick was nowhere to be found. The town’s bookshop had closed down the previous year and the library did not hold it in stock. I asked the volunteer behind the desk if I could use one of their Internet terminals but she told me their server was down and they weren’t expecting it to be restored for several days. Finally, in a big-box store on the ring-road, I located Melville’s great novel. It was one of a hundred classic books in the Nintendo 100 Classic Book Collection, a cartridge for the Nintendo DS handheld games console. I don’t know if you have ever tried to read Moby-Dick on a DS in a Tesco car park – I doubt you have – but I cannot recommend it. The two miniature screens, so in harmony with the escapades of Super Mario and Lego Batman, do not lend themselves to the study of this arcane, eldritch text; and nor does the constant clamour of a small boy in the back seat asking when he can have his DS back.