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The Witches
Quentin Blake, Roald Dahl
Invisible Cities
William Weaver, Italo Calvino
Jonathan Strange & Mr Norrell
Susanna Clarke
The Illustrated Gormenghast Trilogy
Mervyn Peake, Michael Moorcock
Letters from a Lost Uncle
Mervyn Peake
Wonderbook: The Illustrated Guide to Creating Imaginative Fiction
Jeff VanderMeer, Jeremy Zerfoss, John Coulthart

The Sea

The Sea - John Banville The Sea is a slim book. The final, single-sentence paragraph closes full stop on page 195. Slim, but not brief. Within its covers is an entire world, a world of one man’s memories of two deaths—one at the beginning of his life and the other in his old age. The book takes the form of a sort of memoir written by Max Morden, as he weaves the events leading up to the childhood tragedy into the recent tragedy of his wife’s year long ordeal with cancer and her final demise, one emotively interpreting the other. Though Max’s thoughts seem to wander haphazardly through his memories, the book is actually very tightly focused. The wandering done is between a few particular places, between a few particular times, with a few particular people, and the entire story orbits around his grief and his questions of self and other. Max’s narrative is, ultimately, about himself and his understanding of his character, his personality, his limitations, his loss. Because of this, there are only a few character portraits to develop. This is no Dickens or Dostoevsky. This is a single consciousness surrounded by the bare essential of “others”. Indeed, the others who reside in Max’s present are mere ghosts compared to the presence of the cast of his memory. But even those remembered ones are far off, unknowable, untouchable. They are gods—he names them so in the very first sentence of the book. They departed, the gods, on the day of the strange tide. Max is the only person we ever really come to know, and that only so far as he allows. Max, we learn, is a bit of a dilettante. Ostensibly an intellectual writer on art, the aging man has been frittering away his time playing at writing a study on the artist Pierre Bonnard—“A very great painter, in my estimation, about whom, as I long ago came to realise, I have nothing of any originality to say.” He is a man who perhaps had great dreams—ever striving to put behind him the embarrassment of his low brow upbringing—but he has long since realize that his is “free, fatally free, of what might be called the curse of perpetuance.” His work ends. It will not survive long beyond his death—what of him will last? Nothing. Max is painfully aware of his own mediocrity and detests it. He is not the great man he would be. His loves were no great loves. His desires were not sublime. In him passion and zeal were only masks of anxiety. He is—dreadful to himself—bourgeois. He is not particularly likable, though I would argue he is no worse than most of us. He is not idealized—Banville is clear about this, that he finds the superhuman heros of fiction uninteresting. Max Morden is like the rest of us, and therefore while not pretty, his life and thoughts are relevant. They offer us an opportunity to peer into the dark spaces within, to shine some brief light on the pitch black of our closely guarded inner selves. And that quality characterizes the book as a whole. This is not a book that transports us away from the realities of our life—it instead offers us the space, the opportunity, to go inward, to see ourselves as we are, in weakness and failing. That is its genius. The Sea does not offer a final, comforting affirmation. It does not condescend to teach us by way of some tidy moral couched in beautiful prose. It is a portrait of a very common sort of man in a state of grief towards the end of his life. Max Morden is revealed to us without judgment—The Sea gives color, tone, and texture to the man and his ruminations about his life. In this way it is painterly—as if to point it out, Max makes frequent reference to paintings, particularly those of Bonnard. But where Bonnard idealized his subjects, Banville contrasts the idealized subject to the subject in context, bringing greater contrast and poignancy to the reality behind the painting. Banville handles all of this weightiness masterfully. In other hands such honesty could become a bludgeon that effectively beats the reader into darkness of spirit. But Banville’s excellent imagery, the beauty of his lines lifts the book up. It is like a sad song sung beautifully, and in that glimpse of beauty there is life and the possibility of hope. The Sea. excerpted from my blog post, I would not swim again...