The Proustian equation is delicately balanced.

That’s the first sentence of Samuel Beckett’s study of Proust, a book I acquired young when Beckett was still alive – I pictured this emaciated man living in a dustbin in Paris – and Proust loomed like some mountain to be tackled only after years on the lower slopes.

In Deirdre Bair’s much-derided life of Beckett there’s a vignette of him lecturing at Trinity: thirty minutes of silent staring out of the window, then one, perhaps two lapidary sentences, then silence unbroken until the bell released the students. Joy. Unless you were there, of course. Perhaps that opening sentence came through the window.

I never did go on with the book, and I’ve lost my copy but the sentence wanders into consciousness now and then like an old friend. I like to think Beckett would approve of this situation.

 

Number 1 son (14) asked offhandedly if I’d mind listing the hundred best novels in order from easiest to hardest.

It brings to mind a 1950s essay on the difficulty of poetry by Randell Jarrell. People ask why this modern stuff is so difficult, says Jarrell. Critics like Eliot have replied that there is no option for a modern poet, the world is excruciatingly complicated nowadays, patati patata. Whereas, says Jarrell, there is nothing new about the situation – good poetry has always been difficult. Jarrell is right, as anyone who has taught poetry to beginners knows. What reader, however experienced, lazes on the beach with Paradise Lost? Cares to be brisk with a Shakespeare sonnet?

Fiction only seems different. I’ve started by dividing the obvious couple of dozen into bands: easy, medium, difficult.

Jane Austen? Within the canonical six, I’d go for:

Easy: Pride and Prejudice | Medium: Emma | Difficult: Mansfield Park, Persuasion

Yet Persuasion was a surprise hit one (distant) year when we set it for first year English . . .
And in any case, by what standard is Pride and Prejudice ‘easy’? It’s more demanding than, for example, Metamorphosis.

 

. . . says a BBC news headline, one of many that makes one wish Paul Jennings were still with us.

 

“[Adrienne] Rich is demanding without being deliberately obtuse” says a reviewer, and in The New Statesman no less. Another simple confusion, increasingly common, that’s about to change our language spontaneously.

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