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Michael Hofmann

Even in his first publication, the seven short stories of the rightly celebrated The Boat (2008), Nam Le was perhaps always most interested in creating an aura of violent unpredictability. He withheld consistency, offered cruxes, hit the reader with a blizzard of bold plots in settings so varied as to be practically contradictory – Hiroshima, Medellin, New York City, a fishing town on the Queensland coast. Where, as in the title story, Nam Le appears to relent and writes about what may have been his own experience (he was ferried to Australia as an infant), the baby dies. He is like a package determined not to contain what it says on the disclosure form; a letter that won’t be delivered to the stated address.

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Books of the Year 2023

by Kerryn Goldsworthy et al.
December 2023, no. 460

What the authors of these three wildly different books share is a gift for creating through language a kind of intimacy of presence, as though they were in the room with you. Emily Wilson’s much-awaited translation of The Iliad (W.W. Norton & Company) is a gorgeous, hefty hardback with substantial authorial commentary that manages to be both scholarly and engaging. The poem is translated into effortless-looking blank verse that reads like music. The Running Grave (Sphere) by Robert Galbraith (aka J.K. Rowling), the seventh novel in the Cormoran Strike crime series and one of the best so far, features Rowling’s gift for the creation of memorable characters and a cracking plot about a toxic religious cult. Charlotte Wood’s Stone Yard Devotional (Allen & Unwin, reviewed in this issue of ABR) lingers in the reader’s mind, with the haunting grammar of its title, the restrained artistry of its structure, and the elusive way that it explores modes of memory, grief, and regret.

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Wifedom is both an immovable and an irresistible book, an object and a force. Anna Funder, the author some years back of the bestselling Stasiland (2003), has written another great and important narrative of oppression and covert suppression, in this case of the first Mrs George Orwell, Eileen O’Shaughnessy (1905–45). The oppression and suppression are or were the work of her liberal and emancipatory husband – the nearest thing we have these days to a lay saint – and of his six (male) biographers. While nowhere a nasty book (what the Americans would call ‘mean’), it’s a kind of St George and the six dwarves. What’s strange is the persistence of the old bromides. In a recent Guardian review of D.J. Taylor’s Orwell: The new life (2023) – the biographer’s second go-around – Blake Morrison refers to ‘the practical Orwell’ and ‘the complaisant Eileen’. He wouldn’t have said either thing if he’d been able to read Funder’s new book.

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The American poet Robert Lowell (1917–77), I don’t suppose, intended to eclipse his contemporaries, competitors, rivals, wives, any more than in one of his poems the new esplanade along the Charles River intended to stamp down ‘grass and growth’, as he rather vaguely puts it, with ‘square stone shoes’, but it’s what he did. Now, in the almost half a century since his passing, and the end of ‘the age of Lowell’, as one critic christened it back in the 1960s, his largely unintended oppression has unbent; as in the Grimms fairy tale called ‘The Frog King’, one hears the succession of hoops giving way.

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The joy of rhizomes. / Four makes of bamboo / volunteering everywhere, / a kind of supergrass. / ‘Hello, it’s me.’

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Michael Hofmann’s Messing About in Boats is based on his 2019 Clarendon Lectures at Oxford. This series, rather like the Clark Lectures at Cambridge or the Charles Eliot Norton Lectures at Harvard, offers a distinguished literary practitioner the opportunity to address a particular theme in a short sequence of interlinked lectures. Given that the form of oral delivery tends to preclude extensive or detailed critical analysis, the most effective of these sequences usually promote a few challenging ideas in a compact form that lends itself readily to crystallisation. For example, Toni Morrison’s book The Origin of Others (2017), which links racism to constructions of ‘Otherness’, was based on her Norton Lectures at Harvard the previous year.

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Defend
                 Indefensible
                                  Defendant
Deafen
                 Defang
                                  Deferment
Deform
                 Deforest
                                  Defect

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We have the White Louse. His name is Donal Dump. He is the Resident, and he heads the Dump maladministration, squillionaires and a sprain-surgeon, a Cabinet of all the talons. They call him a racial spigot. He sees it as he calls it, which makes him spigot. He squitters Twitter on the shitter, and we titter after. He only squeaks for us.

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June 22

And many happy returns of the day to Cyndi Lauper, 65,
once said to ‘dress funny’ and her voice likened to ‘rat’ (or ‘rat’s’),

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Michael Hofmann’s home territory is language, while his life is extraterritorial. He was born in Germany, went to school in England, now lives in Germany, but teaches in North America. He has also made a living out of working between languages, translating scores of texts from German into English ...

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