38. Spring, Ali Smith
Third in the Seasons quartet. The main characters in this one are Richard, a film director knocked sideways by grief after the death of his best friend (and maybe love of his life), and Brittany, a young woman who has drifted into a job at an immigration detention centre and is trying to work out how she feels about what she sees there and how she fits in. These two, completely unconnected at the beginning of the story, are brought together by a series of events which can seem confusing, coincidence-heavy and even magical, but eventually makes more sense towards the end of the book as we work out what has been going on.
I know that Ali Smith is not for everyone, but I like her a lot. I like the tricks that she plays with language and cultural references. I like the way that she makes the everyday seem unfamiliar and polishes language so that words blaze and sparkle (there's a quote somewhere in the book which is totally apposite to this but one thing about the way she writes with so little punctuation is that it's very hard to find a quote when flicking through, as the text all looks the same).
She gets her characters to look at famous or classic works of art (music and film as well as visual arts) through unfamiliar eyes, so we see them freshly. She hooks on phrases then drops them back into the text later at a point where they gain new meaning - Richard, going into a shop who are having a closing down sale with a big sign declaring "Everything Must Go", then hearing those words again in his head while he sits with his dying friend. She finds objects or ideas from the real lives of the artists who play such a significant part in these books - here, for example, are postcards and clouds - and weaves them into the made-up lives of her fictional characters too, so that when we discover the importance of a postcard to the poet Rilke, or clouds to the artist Tacita Dean, we get a thrill of recognition and significance.
These are tricks, and I know that not everyone likes them, but I do. She riffs here with the ideas of fairy stories and fables, as well as performance and artifice, (apparently the book is a refashioning of Pericles, which I don't know at all so I missed all of that I am afraid!) - you can see that Smith is deliberately building these moments of magic while deliberately letting us know that they're not quite real, that they've been put there for show, but they're no less effective. Like a great artist, she harnesses all these colours, all these flourishes and bits of linguistic show-offery, and weaves them into something which impacts you, something that you can't turn away from, something which makes you feel like a human being. Brilliant stuff, IMHO.