By Alasdair Gray
An unforgettably not easy booklet approximately energy and powerlessness, women and men, masters and servants, small nations and massive nations, Alasdair Gray's exploration of the politics of pornography has misplaced none of its energy to surprise. it is a searing portrait of male want and inadequacy, as explored through the lonely sexual fantasies of Jock McLeish, failed husband, lover, and businessman.Yet there's desire the following, and the humor—if black—and the ingenious and textual strength of the narrative achieves its personal type of redemption in spite of everything.
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Extra info for 1982, Janine
Mark nodded. “Murder is the city’s best free entertainment. I hope it doesn’t bother you, Mr. ” “Quite the contrary. It’s the odor of tuberoses and the timbre of organ music that depress me. Public festivity gives death a classic importance. ” He sighed. 46 “If she were here now, she’d open the windows, pluck daisies out of her window-boxes and strew the sidewalks. ” Mark plucked a daisy and tore off the petals. “Laura loved dancing in the streets. ” He shook his head. ” The house was one of a row of converted mansions, preserved in such fashion that Victorian architecture sacrificed none of its substantial elegance to twentiethcentury chic.
One servant, a grim Finn, had accompanied her. It was Helga who opened the door for Mark and led him through a maze of dark canals into a vast uncarpeted chamber in which every piece of furniture, every picture and ornament, wore a shroud of pale, striped linen. This was Mark’s first visit to a private home on Fifth Avenue. As he waited he paced the long room, accosting and retreating from his lean, dark-clad image in a fulllength gold-framed mirror. His thoughts dwelt upon the meeting with the bereaved bridegroom.
Except to the woman he’s marrying,” a shrill voice added. 37 In the mirror’s gilt frame Mark saw the reflection of an advancing figure. She was small, robed in deepest mourning and carrying under her right arm a Pomeranian whose auburn coat matched her own bright hair. As she paused in the door with the marble statues and bronze figurines behind her, the gold frame giving margins to the portrait, she was like a picture done by one of Sargent’s imitators who had failed to carry over to the twentieth century the dignity of the nineteenth.
1982, Janine by Alasdair Gray
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