JUDY KRAVIS

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Thursday, 4 May 2017

For several days I tried to re-read John Hawkes. I rarely give up on a book, but I can read very badly, skimming unengaged through a chapter here and there, mixed with half an hour of attentive reading in the middle of the night, followed by a restart up at the pond. A sigh. This writer is going to a lot of self-conscious trouble, a lot of shifting about in his writerly seat before releasing another well-wrapped piece of plot.

Here is a character at home in his lodgings in the 1940s, the lavatory down the hall—there are a lot of lavatories, toilets and Gents in this book—here is a narrative, which, as today's Thought For the Day insisted, is the stuff of our lives, which is why many of us spend evenings with boxed sets, apparently.

The blurb on the back cover tells us this is a racing novel with a mystery horse and several mishaps, a thriller, a dream, a nightmare in meticulous detail, I don't see it. If it's a thriller it's also an exercise.

I was told once that I wrote as if I didn't want to write. John Hawkes likes to write. He likes being a writer. He has fun with the names of horses.
Just the evolution of a name—Apprentice out of Lithograph by Cobbler, Emperor's Hand by Apprentice out of Hand Maiden by Lord of the Land, Draftsman by Emperor's Hand out of Shallow Draft by Amulet, Castle Churl by Draftsman out of Likely Castle by Cold Masonry, Rock Castle by Castle Churl out of Words on Rock by Plebeian—and what's this name if not the very evolution of his life?
In the author photo on the back of the New Directions paperback, he is leaning sideways against a paperbark birch. He looks like a writer. He has round glasses, a pipe and tan lines where his watch strap would usually be. It's a side view and he's looking slightly downward, just above the angle of his pipe.

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