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Books : Fiction : Anthologies : Political
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The instinct to seek perfection in human affairs is as old as Western Civilisation; sometimes it is claimed that the perfect society is lost in the past, or is very distant in the future or across the hills, and sometimes utopia is seen as achievable in our own time, by the adoption of a particular political programme. The great strength of John Carey's anthology of utopian writing, though at times also a significant weakness, is that he is highly suspicious of the entire enterprise; it is not insignificant, he implies by careful selection, that one of the first pieces of Utopian writing is Plato's The Republic that, however benevolent its goals, is maintained by a mixture of force and lies and depends on squashing the aspirations of ordinary people. In his useful introduction, he points to some key themes: the production of perfect offspring and keeping them that way by education, the punishment of criminals, and the management of ageing and death. Carey suggests that there are insoluble problems in human life and that utopians tend to falsify them by regarding them as simple. This is a useful anthology, but a dispiriting one--Carey's determination to let no-one off the hook is harsh, but fair. --Roz Kaveney
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Compiling an anthology of one's own work can be a tricky business. Norman Mailer, of course, first committed this act of literary cannibalism back in 1959, when he assembled a brilliant collage of stories, journalism, essays, and poetry, Advertisements for Myself . Now, 50 years after the publication of his first novel, Gore Vidal's favourite sparring partner has put together another, more massive anthology, advertising not only himself but what we might call (paraphrasing Frost) his lover's quarrel with American life. "Over the course of years," Mailer writes in his foreword, "most of us compose in the privacy of our minds a social and cultural history of the years through which we have passed." True enough. But Mailer's history of the American Imperium has always been public-- extremely public--and in The Time of Our Time he attempts to get it all into a single book.Surely this sense of himself as the republic's recording angel accounts for the structure of Mailer's anthology: rather than arranging the excerpts by date of composition, he groups them by the historical era they describe. His 1963 polemic about the Bay of Pigs fiasco, for example, appears alongside his cloak-and-dagger reconstruction of the same event from Harlot's Ghost (1991). Fiction and fact lie cheek-by-jowl and eventually become impossible to tell apart. Here is the fulfilment of a project that Mailer began decades ago with such cunning hybrids as Armies of the Night. Yet this enormous volume shouldn't be read merely as a hand-tooled work of history. It is also the record of a phenomenal literary career, documenting Mailer's initial triumphs, his adrenaline-infused masterpieces of the late 1960s, hyperbolic stinkers like Marilyn and Ancient Evenings, and the astringent sorrow and awe of The Executioner's Song, which marked his return to form in 1979 after a long fallow period. Who but this loudmouthed, elegant, shrewd and invariably excessive author would claim that his time--that is, his accounting of it--is essentially our time? And who else could even begin to make such a claim stick? The list is short indeed.
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