'The Moment' by Douglas Kennedy

I went into a Waterstones bookshop a few weeks ago, and browsing through the fiction shelves I decided to 'check out' the Douglas Kennedy books, to find out if he had written a new novel. And hey presto - he had. Sitting there on the shelf (and in paperback!) was:

'The Moment', published by Hutchinson in 2011.


Wow - a must buy. I took it over excitedly to the counter and purchased it right away. This is very rare for me; to follow a fiction author and to buy all of their latest books. But with Douglas Kennedy nearly every single book turns out to be an absolute winner; real page-turners; with wonderful, exciting and meaningful plots. Yes, I am now a devoted Douglas Kennedy fan!


And yes, indeed, 'The Moment' (Kennedy's 10th best-selling novel) was another gripping read; another real page-turner; another book that it was impossible to put down. Yes, Douglas Kennedy does it again and again and again.


As well as being great reads, Kennedy's novels also make many important and insightful social and political points. 'The Moment' carried on with this tradition, and it also had a philosophical dimension.

The philosophical dimension revolved around the concept of 'The Moment': around issues such as whether or not one should live in and for 'the moment'. The main character, Thomas Nesbitt falls in love straight away, but then tragedy hits. Was this because he had been living in 'the moment' or was it down to some other outside factors?


Then, there is also the value or otherwise of being 'spontaneous' and/or 'impetuous' - a topic that I discussed recently with two of our sons, who were quite cynical about it all.

Now, for me it has always been important, indeed necessary, to be rational, sensible and level-headed for much of the time, but that on occasion there is a definite need to break out of this type of mentality, and do something spontaneous, irrational and/or impetuous - i.e. 'living in the moment'. Enjoying life in the particular instant; being carefree; being out of character, perhaps; putting ones concerns and responsibilities to one side for a while. I see 'spontaneity', in particular as being something very positive in this regard. And here, my thoughts turn to D. H. Lawrence - another one of my favourite fiction authors.

Being impetuous can, of course, be taken the wrong way - not making sound and considered judgements etc. Indeed, in what I saw as being in an 'impetuous moment' I decided to start up this blog. That was a good thing, mind. But I was actually going to call it 'Impetuous Moments' but upon discussing it with Graham Coult, the editor of 'Managing Information' (who is keen on blogging), he suggested that 'Serendipitous Moments' might be a better name, as that is clearly positive. I thought that was a sound idea, so took it on board. But being impetuous can also be a good thing. We need to break out of the rat race type of mentality sometimes, that's for sure.

Indeed, important decisions can sometimes be made in 'the moment'. And moments of genius thinking can suddenly appear; the inspiration in the moment; thinking outside of the box and outside of the confines and convention of society; such moments need to be cherished, and wherever possible, preserved. But of course, big mistakes can also be made in 'the moment'.

So, anyway, Douglas Kennedy discusses 'The Moment' in the opening pages of his book. There is a discussion between two of the characters (between Thomas Nesbitt and his father) and this is how it goes:

"
'Because I worry I'm a 'not now' sort of person.'

'Why do you say that?'

'I can't live in the moment, I can't let myself be happy with where I am.'

....

'The moment...' I said, as if trying out the word for the first time.'It's a very overrated place.'

'But its all we have, right? This night, this conversation, this moment. What else is there?'

'The past.'

'I knew you'd say that - because that's your obsession. It's in all your books. Why 'the past', Dad?'

'It always informs the present.' " (p.7)

And so on and so forth. There is so much that could be said. The importance of being able to 'let go' and live in 'the moment'.

But there surely has to be more than just 'the moment'; there is the long-term view; the hopes and aspirations.

There are also the sociological terms; 'immediate gratification' and 'deferred gratification'. 'Immediate gratification' - more working class; 'living in the moment'; living in the here and now; enjoying life and not planning much for the future. As opposed to 'deferred gratification', a more middle class concept - planning careers, buying houses and working towards creating a secure and happy life for oneself etc. etc. The latter is also very important, otherwise things can go badly wrong!





And at the end of the book Kennedy returns to 'the moment' again. That quote is at the end of this blog.

Anyway, let's move on for now. Is it a good idea to outline the main plot? Probably not - I might spoil it for potential readers. So, rather I will just say that the novel combines a love affair with writing and other creative outlets, politics and philosophy and that it is really something. Delicious; captivating; enticing; can't put downable.


But there are a couple of other particular themes in the book that I would like to discuss a little more.


The opening few pages starts off with Thomas as a child, and this quote amused me. Thomas Nesbitt says:

"I was always the last kid chosen for teams at school. I always had my head in a book." (p. 29)

Well, that one is so very like me, I must say, and I suspect that this might have applied to Douglas Kennedy himself - i.e. liking books over team sports as a child. I hated PE at school; I was always the last one to be chosen for the horrible team sports, such as netball and rounders. And as for hockey - well, that was even worse. Good job that I also had a sense of the importance of being healthy, otherwise I might be a couch potato by now, she says laughing!




Anyway, I digress.



Then, on p. 16 we have Thomas Nesbitt as a child, wanting to go off and escape (away from his parents) - and so he decides to go off to the local library. I certainly know what he means on that score and where he is coming from. I frequently escaped home and went off to the local library as a child, and got myself some delicious stories to read. I wonder if Douglas Kennedy also felt like that as a child? I suspect that he probably did. Much of fiction writing comes from our own experiences. 'The Moment' for example, is set in Maine and Berlin and these are some of the places where Kennedy currently lives. Nowadays, he divides his time between living in London, Maine, Paris and Berlin. Cool places, eh!


Then, I thought a quote about creative works was also very powerful; a quote about creative works remaining with the creator. One of the characters in the book, Alastair (someone that Thomas is sharing a flat with) is an artist; whilst Thomas himself is a writer. Yes, many of the characters in Kennedy's books are writers, editors, journalists, painters etc - i.e. creative people. Anyway, here is the quote about creative works, with Thomas reflecting:

"That's the great consolation lurking behind all art: the fact that, during the act of creation, you have power over things. Once the painting is in the hands of your gallery owner - or your manuscript with your editor - you no longer own it or possess command over its destiny. But when you are at work, it's still all yours. You own it." (p. 108)

Douglas Kennedy sums up my thoughts and feelings on this one very well. When one is in the process of creating it is all very much ones own work; but once it is 'out there' it becomes, in one sense, something completely different. It is a strange feeling. Writing, keeping it close to ones chest - very important. But when it eventually goes 'out there' it becomes something else. It becomes transformed into something else. One feels differently about ones writing once it is 'out there'. One thinks about how other people might be interpreting and seeing the work for one thing; one looks at it through various lenses.

One also feels less attached to it in one sense. One does not know quite what will happen to the work, or what will come about as a result of it all. Glenn, for example, was invited completely 'out of the blue' to speak in Dublin earlier this year, leading on from his book 'The Battle of Seattle', which was published 10 years ago now. Seattle clearly must have very much inspired the Dublin folk - all the group had read the book! So, one never quite knows: as Douglas Kennedy says, one does not have 'command over its destiny'. The work also takes on another kind of form; it becomes more important in one sense.

And one certainly knows that one works is not going to be confined to the dustbin, which obviously scrawls on paper and/or screen can end up as, if one is not careful. But the best thing surely is to get the writing published. That way ones work can be taken more seriously and hopefully will be read by a wider audience. And for an artist, it is to exhibit and sell etc.

But of course, writing can be kept 'closer to ones chest' than paintings can. A painting would have to be hidden in a locked door, if one wanted to try to make sure that non-one saw the work in progress, as it were.

Anyway, enough reflections - let's move on.


The political dimension in the book was also fascinating and very gripping. These political issues clearly occupy Kennedy's mind quite a lot - put simply these are issues largely around communism versus capitalism. It seems to me that Kennedy hates the extremities of both, and that he is probably on the soft left. These themes pervade many of his novels.

Quite a lot of 'The Moment' deals with the bad communist regime, the STASI that there was in East Germany, during the Cold War, and how terribly it treated the main heroine, Petra Dussmann, who Thomas falls in love with, in 'the moment'.

Glenn and I are, of course, against capitalism; we do not accept the 'There Is No Alternative' philosophy; but the communist regimes that have existed so far, are clearly not the answer. We must persevere; exercise some patience; and aim to think and work towards creating a better, fairer and a kinder world for ourselves.

And I thought this quote was really something as well; the power of writing and all that. Here are Thomas Nesbitt's thoughts on writing:

"When I write, the world proceeds as I would like it to proceed. There is an order to things. I can add and subtract what I want to the narrative. I can create any denouement I desire...When I write there is an order to things. I am in control." (p.25)

I very much feel this; that when I write I bring order to things; I am in control; I know where I am going; I can make sense of things. And writing can also be therapeutic, of course.

There are also elements of the book that might be autobiographical, I think. The main character, Thomas Nesbitt, becoming a novel writer; up to now, having just written one non-fiction book on Egypt. And Douglas Kennedy himself wrote a book about the pyramids.

In some of Kennedy's previous novels it said that he was married, had two children, and was living in London. But in 'The Moment' there is no mention of his wife. I wonder if the jet-setting, successful life has taken its toll? Also, there is a part of him that is clearly very American (the fast pace in the novels etc), but there is a part of him that it also very critical of the American way of life, I think. Which no doubt partly helps to explain why he is currently living in 4 different locations!

And then there are the similarities between Douglas Kennedy and myself - that also interests me. We are both about the same age (he was born just a year before me); we both have 3 non-fiction books published; we both enjoy writing; we are both married; we both have children; we are both interested in politics and, as I say, I suspect that Kennedy is on the left; we are both critical of both capitalism and communism (as constituted so far); we are both interested in writing novels about writers and creators; we are both keen to include some politics and philosophical issues in our fiction writing; we are both interested in exploring the minds of talented, educated and troubled people. The artist, Alastair, in 'The Moment' for example, is a wonderful artist, but has personal issues - he is a gay drug addict. And so on and so forth.

As I say, Kennedy wrote 3 non-fiction books and now this is his 10th best-selling novel. And as I also say I have 3 non-fiction novels published and am now venturing into fiction. I wonder if I can follow a similar path to Douglas Kennedy? That would sure be wonderful. But I am a heavier writer than him; that has to be said and acknowledged.

I do, indeed, often find myself identifying with certain and various creative people - whether they be alive or dead. But there is something very special about identifying with a living person; one can see how they develop and progress; one can relate to the period that they are writing about - the simple fact of sending emails that are in Kennedy's novels, for example. One can feel it all so much.

My thoughts turn, yet again, to Michael Jackson. Douglas Kennedy helps to fill the gap left by Michael Jackson for me to some extent. I am very fortunate in that regard. I can also compare it all to where I personally am at.


Douglas Kennedy does also have a certain advantage for me, because my discovery of his artistic talent was much more personal. I mean, the world knew Michael Jackson, even though I did appreciate his brilliance in quite a solitary way. But anyway, Kennedy is not in the same league exactly as Michael Jackson, when it comes to world fame of course. I simply discovered Kennedy's work on my own by being attracted to one of his book covers in W. H. Smith, where the book was on display (a few years ago now). So, in this way, it is more personal for me (although not in other ways).


One could also make some interesting comparisons with Jean-Paul Sartre's work - Sartre who dealt with many philosophical issues in his novels. Now, Douglas Kennedy is not in the same league as Sartre, when it comes to depth of philosophical thinking of course. But even so, he makes many insightful philosophical and political points. And perhaps, in the future, his work will become deeper. I like that idea - so that he goes down in history as not only being a best-selling novelist, but also as a really classical novelist - i.e. so that his place in history is secured.

Personally, I am approaching the novel from the opposite angle, I think. I seem to be going in at the deep end; with moments of lightness. The exploration of many philosophical issues are absolutely key and crucial for me. But perhaps, in the future, I will also write some more lighter reads; or at least, that the balance will change.

Although, let's also give credit where it is due. The 'Independent on Sunday' has this to say about 'The Moment':

`Kennedy, like William Boyd and Paul Watkins, has always managed to walk that precarious tight-rope of credibility between the twin towers of popular and literary fiction.'

Yes, Kennedy does indeed combine popular and literary styles in his novel writing - a real achievement. And the fast pace (no doubt influenced by his Manhattan upbringing) and fascinating plots makes his books really gripping; real page turners. I certainly would not want that feel and pace to be lost or lessened. But on the other hand, I think Kennedy's books could be made richer by exploring the political and philosophical issues in some more depth and where they play more centre stage in the books. A difficult artistic accomplishment, but one that I am sure Kennedy is very capable of achieving. As Christian House in 'The Independent' on 8th May 2011 said:

"The Moment remains a great read but I can't help thinking there are better things to come from this fine raconteur, if he can only eschew the demands of his publishers."

Yes, a very good point that, I think.

Anyway, I am very much aiming to do both; to lessen the great divide between fiction and non-fiction, and where one can feed off and benefit the other. But that is not something that all that many people try to do in any really meaningful way.

And the 'Irish Times' has this to say about 'The Moment':

`Douglas Kennedy's 10th novel, The Moment, a tome running to almost 500 pages, is weighty enough to crush any doubts about this prolific author's status as a stylish popular novelist and a classy purveyor of the gripping yarn... It is the quality of evaluation, this conscious appraisal of unforeseen loss, of gallant naivety, of the bullish youthful belief in the right to happiness, that sets Kennedy's work apart from that of many other popular novelists... It is a gripping read and an honest attempt to address human frailty while playing out our minor destinies in the face of great love and desperate loss.' --The Irish Times

Douglas Kennedy concludes his novel talking philosophically about 'The Moment' again, saying:

"The moment.

The moment that can change everything. The moment that can change nothing. The moment that lies to us. Or the moment that tells us who we are, what we search for, what we so want to unearth...and possibly never will.

Are we ever truly free of the moment?"

Yes, 'The Moment'.



I also wrote a long piece about Douglas Kennedy's novels in October 2009, that is both on this blog and on our 'Flow of Ideas' website. I wrote, in particular, about the amazing ability Kennedy has to get into the minds of educated but troubled women - writing in the first person as a woman. Re-reading these novels, and writing this piece, really helped me leading on from the death of my father-in-law, two and a half years ago now.




Here is the link to my article:

http://www.flowideas.co.uk/?page=articles&sub=Douglas%20Kennedy:%20best-selling%20novelist

And now Kennedy's novels are starting to be transformed into films and on to the stage. One is a French film that is based on 'The Big Picture' (a great read) and the other is 'The Women in the Fifth' which is being performed in the theatre.


And finally, here is a picture of Douglas Kennedy - wow!

Moving

MOVING

The time has come to make clear, or not as the case may be. Three years after Rhodes, Glenn gave a talk at GradCAM in Dublin on 25th May. This draws a line under the silence and long hair over this period, though long hair might be grown once more.

Taking stock and considering what next emerges will be a joint decision. Whatever is decided upon, we have confidence that the power of our project will be uncovered.

Glenn and Ruth Rikowski

The Flow of Ideas: http://www.flowideas.co.uk/

All that is Solid for Glenn Rikowski: http://rikowski.wordpress.com/

Capitorg

CAPITORG: EDUCATION AND THE CONSTITUTION OF THE HUMAN IN CONTEMPORARY SOCIETY – GLENN RIKOWSKI

The Praxis and Pedagogy Group of GradCAM (the Graduate School of Creative Arts and Media) Dublin present:

Glenn Rikowski
“Capitorg: Education and the Constitution of the Human Contemporary Society”

Wednesday May 25th 2011
6.00 – 8.00pm
Henry Clarke Room, NCAD, 100 Thomas Street, Dublin

Our lives are increasingly constrained by the social relations that capital coordinates. The educational discourse of neoliberalism; promoting literacy for job opportunities, economic advancement, and individual success are of paramount importance to producing human capital rather than human beings. Neoliberal literacy includes training students and workers to accept “a new work discipline” and conditioning their will to maximise the accumulation of capital and wealth. As students increase their marketability, they are “always already shaped by the labyrinthine circuits of capitalist desire” (Peter McLaren and Ramin Farahmandpur, 2002)

We not just learning, teaching, and living in neoliberal capitalist societies, but are becoming “a new life-form: human-capital” through “the capitalization of humanity” (Glenn Rikowski, 2002).

Flyer for the event: http://www.gradcam.ie/glenn_rikowski.pdf

The Capitorg: http://www.ccfi.educ.ubc.ca/publication/insights/v10n02/html/kim/kim.html (Many thanks to Soowook Kim: Glenn)

'The Mayor of Casterbridge' and 'Jude the Obscure' by Thomas Hardy






I have always loved Thomas Hardy; the way he writes, his style of writing, the wonderful countryside, the beauty of Wessex, the characters and the characterisations etc., even though, he is a determinist and such awful things happen to so many good, albeit flawed human beings. Things just to be forever conspiring against many of the main characters in his novels (such as for The Mayor of Casterbridge, Michael Henchard, for 'Jude' in 'Jude the Obscure' and for Tess, in 'Tess of the D'Ubervilles); and this happens, no matter how hard they try and how good they aim to be. It all seems so unfair and unjust. But clearly, Hardy must have felt quite passionately that this is how life can often be in reality, and particularly for certain people, (and indeed, he is certainly right on that score, I think!). Many of us have suffered in this way (although Hardy is very extreme about it, it has to be said). Society can be very cruel. However, personally, I do like to try to look on the bright side, and to somehow think and hope that things will come good in the end. Well, I have to really, for my own survival. I couldn't carry on living from day to day otherwise!


Anyway, re-reading both 'The Mayor of Casterbridge' and 'Jude the Obscure' recently, I felt this even more passionately. In fact, I actually began to find the whole process of reading the books very draining; it was actually taking it out of me. The whole atmosphere, the whole way in which Hardy writes, leads one to think that the main characters are doomed. No matter how hard they try, one knows that in the end, they will lose out; that more bad things will happen to them rather than good, and that the bad things will triumph over the good. So, although I still found the books very enticing, I was not quite so sure that I always liked the feeling they were giving me - a feeling which when I first read the books, many years ago now, I actually felt quite OK with. In fact, I loved the feeling in many ways. I felt at home; I loved the sense of community that they engendered. But on the other hand, this time around, I found the way in which everything that the characters touched, how so many people that they associated with somehow seemed to end up being bad news for them, doing them harm in one way or another, was all very draining. This shows how we can change over time, I guess.

Also, the endings in both of the books are so terribly tragic (as is also the case in 'Tess of the D'Ubervilles' of course). Both Jude and Michael die comparatively young; they both die with more or less nothing; and all that after having tried to live decent (albeit not perfect) lives! Michael could, for example, have killed his good friend, Donald Farfrae, the person that he was so kind to and nurtured, who then in various ways started to take everything that Michael had. This included Donald becoming the Mayor of Casterbridge himself and marrying the 2 women that Michael loved; Lucetta and his daughter, Elizabeth-Jane; even though all this was not done through evil, malicious intentions by Donald. Anyway, Michael chose not to kill Donald of course. He also gave the love letters back to his one-time lover, Lucetta Templeman - letters that if discovered would have destroyed her reputation. Michael still wanted to marry her - but no, she decided to marry Donald. It all starts to go wrong, of course, from the day that Michael, in a drunken state, mistakenly sold his wife; and no matter how much good he tried to do, such as becoming the Mayor of Casterbridge itself, and trying to do some good for the people in the Casterbridge community, the odds are always stacked against him; fate had other plans for him.

And look at how tragic his final words are:
" 'Michael Henchard's Will'
That Elizabeth-Jane Farfrae be not told my death, or made to grieve on account of me.
& that I be not bury'd in consecrated ground.
& that no sexton be asked to toil the bell.
& that nobody is wished to see my dead body.
& that no murners walk behind me at my funeral.
& that no flours be planted on my grave.
& that no man remember me.
To put I put my name.
Michael Henchard"
Dear oh dear!

With Jude, in 'Jude the Obscure', Jude loved books and wanted to get himself an education. He goes to Christminster (rather like Oxford). But he mistakenly married Arabella before he went, and all that comes back to haunt him as the books progresses. He cannot get into university at Christminster (it is not in his class, his league). He falls in love with his cousin Sue Bridehead in Christminster, but they never formerly 'tie the knot' (even though Arabella had long since gone). They were frightened to commit, as they had both made bad mistakes in their previous marriages, Sue marrying someone that she did not love. But after the children die (the older killing the younger two and then himself thinking that they are too burdensome for Jude and Sue), Sue decides it all happened because Jude and her have been wicked, that they should not have lived togther, and that they should return to their original marriage partners. They do; they are unhappy and in the end Jude dies, with basically nothing.

So, Michael, Jude and Tess, all well-intentioned people, trying to lead decent lives, whilst at the same time making some human mistakes on the way, die relatively young and with nothing.
All so very tragic.

Of course, these stories are all very well-known. Still, it is useful sometimes to reflect.

Hardy's style of writing though is fantastic, it has to be said, and reminds me of how Jane Austen can rephrase things in a certain very effective, enticing and beautiful way. It is a rare gift. Reading 'The Hand of Ethelberta' by Thomas Hardy also brought home to me what an art such effective writing is. This was because this book fell seriously short; as it says in the Introduction, it is indeed 'the joker in the [Hardy] pack'. Perhaps, it would have been better if it had not been published. But I suppose it at least gives us an opportunity to compare and contrast, and to help us to appreciate a good novel from a poor one. This was probably a novel that Hardy should have realised was only in draft form, and needed to be edited, rephrased, reworked in various ways. So be it. It didn't happen. But it provides a useful illustration.


This will be my last blog on the novels that I read for the foreseeable future; and indeed, blogs on 'Serendipitous Moments' in general now, will be rare. Next, I need to concentrate on my own novels; on my own writing and on my own life. I do this by forward thinking; by being optimistic; by embracing life; by connecting with certain types of people and organisations and by making certain decisions. And by thinking in the opposite way to Thomas Hardy in many ways, in fact. By believing that no matter what obstacles one may be presented with, it is possible to find positive ways through, and to come out successfully and on top. Romantic thinking perhaps, but it is how I prefer to think and to be. And for me, it has certainly brought forth good results. We do what best suits us. And so for all these reasons, my energy must be conserved, so this door will now close, and will make way for another one to open.

I hope and trust that these blogs of mine on the novels that I read have provided some interest and enjoyment. Novels have been, are, and will always continue to be a very important part of my life. And on this note, I will leave the final few words to Lizzie in Jane Austen's 'Pride and Prejudice', who says that:

"How much sooner one tires of anything than of a book!"

I could not agree more! There can, indeed, be no finer words in my book!

'Girl Friday' by Jane Green

This book was OK, but I did not enjoy it as much as the other Jane Green books that I have read. But then again, perhaps, I am getting a little tired of her books or something. And of course, I have been very busy organising a book launch for my third non-fiction book on digitisation.

In 'Girl Friday' Kit splits with her husband Adam, but then a sister (Amanda) that she never knew she had appears on the scene, and goes off with Adam. There are also other sub-plots.

Whether I continue to blog the novels that I read remains to be seen.

I re-read 2 Thomas Hardy books recently, which led me to do some re-thinking; which I shall probably blog at some point.

'Jemima J.' by Janet Green

'Jemima J.' by Janet Green (Penguin Books, London, 1998) - this was a very enjoyable read. It is about Jemima Jones, an overweight journalist, who is very attracted to her good-looking colleague Ben from the Kilburn Herald. But she's convinced he won't be attracted to her. She then goes on a very strict diet, really slims down, goes to America and gets attracted to another man - Brad. She thinks it is love, but then discovers that he is using her to keep his 'real' relationship going. Finallly, Ben comes back on the scene, they fall in love, and she goes back home to UK. The book helps to illustrate what an important part food, diet, how we think we look etc. plays in our lives.

A powerful, engaging read.

'Darkest Before Dawn' by Katie Flynn

'Darkest Before Dawn' by Katie Flynn (Arrow Books, London, 2005) - another good read.

This revolves around the Todd family at the time of the 2nd World War. There is Martha and Harry Todd, with their 3 children, Seraphina, Angela and Eve (the first 2 names being very cherub-like names which was why the 3rd was called 'Eve' and not Cherub). You see the family go through various highs and lows in war time, with jobs and relationships etc. But the love and loyalty between them all remains strong, and finally we see Eve and Toby (after Toby originally went out with Seraphina) fall in love.