The Book Group in an Ian McEwan Nutshell

Ian McEwan, Nutshell (Jonathan Cape 2016)

1911214330.jpgThe Meeting: This is the first time I’ve been to a Book group meeting without having read even one page of the book that’s up for discussion. The Emerging Artist asked me what excuse I was going to give. I replied haughtily, and a little disingenuously, that I didn’t need an excuse, because the group is about much more than discussing a book.

There’s food, which this time was excellent: our host had taken a day off work to buy ingredients and cook a fabulous Malaysian meal. (He joked that he had thought of making smoothies but decided against it – a joke which I only got a week later when half way through the book.) And there’s bonhomie: we caught up with each other’s lives, relationships, illnesses and other milestones.

We eventually did discuss the book. I gleaned that it is beautifully written, with many sentences that at least one person was compelled to read more than once. A couple of people laughed so hard at some parts they had to put the book down. The plot had to do with Hamlet, but not obviously. The central conceit, that the narrator is a foetus in the last weeks of gestation who knows an awful lot about the world from listening to podcasts, was either amusing (most of the group), richly metaphorical (one person), or one-joke tedious (the main dissenter who, incidentally, says he is an Ian McEwan fan).

I snuck a quick look at a page close to the end, and was enthralled. Here’s the paragraph I read, without spoiler anxiety, because after all it would have been odd for the narrator not to be born at the book’s end:

A slithering moment of waxy, creaking emergence, and here I am, set naked on the kingdom. Like stout Cortez (I remember a poem my father once recited), I’m amazed. I’m looking down, with what wonder and surmise, at the napped surface of the blue bath towel. Blue. I’ve always known, verbally at least, I’ve always been able to infer what’s blue – sea, sky, lapis lazuli, gentians – mere abstractions. Now I have it at last, I own it, and it possesses me. More gorgeous than I dared  believe. That’s just a beginning, at the indigo end of the spectrum.

In the course of the evening someone read a passage that he particularly enjoyed. To my uninformed ear it was a dry if elegantly constructed list of items such as one hears on the news every night, with nothing particularly clever, pleasant or moving about it.

The discussion must have been enticing enough because when the library emailed that a copy had finally become available, I borrowed it.

After the meeting: It turned out that the main challenge for me as a reader was the requirement that I willingly suspend, not so much disbelief, as my sense of late prenatal awareness as an actual thing, one that bears little or no resemblance to the sophisticated rumination, moral discrimination, wine connoisseurship and intense visualisation that characterise the narration here.

Once you are reconciled to the fact that there’s no attempt to imagine an actual foetus’s mental processes, and have set aside any anxiety about the potential damage from the mother’s copious alcohol consumption or vigorously receptive sexual activity, you can pay attention to the story, in which the narrator listens and feels helplessly while his mother (Trudy/Gertrude) and her lover/brother-in-law (Claude/Claudius) plot the death of his father.

Like a number of recent and forthcoming books, though not part of the Hogarth Shakespeare Project (Gillian (Gone Girl) Flynn will be doing Hamlet for that project), this is a novelistic riff on a Shakespeare play. The names and the incest–murder scenario aren’t all that links it to Hamlet. There are plenty of verbal echoes  – ‘To be’, though not ‘not to be’; ‘Seems, nay tis’, and so on. And Hamlet’s indecisiveness is parallelled in the narrator’s vacillations as he is influenced by his mother’s hormonal fluctuations and his own divided loyalties. The narrator toys with the idea of killing himself, with a literal ‘mortal coil’. There’s even a Shakespearean ghost.

The narrative swings along, and the remarkably well-informed foetus’s reflections are engaging, but I kept wondering if the central conceit was really any more interesting than the one in the movie Look Who’s Talking. In an odd way, it was this rather than the narrative question – would the plotters get away with murder? – that kept me in suspense. In the end, it was a passage very like the one that had so failed to impress me at the meeting that brought the narrative’s metaphorical power home for me. The narrator is well informed, like so many of us in the age of social media, about things he is all but powerless to influence. This helplessly informed state is the novel’s equivalent to Hamlet’s indecisiveness. ‘And always, there are problems closer to hand.’ That sentence, banal as it may seem out of context, is actually a call to action, and it’s what in the end made me love the book, though I still could have done without all the alcohol during pregnancy.


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