David Winner’s third novel, Enemy Combatant, has just been published by Outpost19 Books and has already received a starred Kirkus review. The book is an action-packed road trip gone horribly haywire, a misadventure mired in alcoholic debauchery and doomscrolling-induced moral indignation at the imperial arrogance of the Bush administration following 9/11. Sensitively and intelligently written, it wobbles between the tragic, comic, and utterly ridiculous as two close friends set out to free someone, anyone, from one of the extra-judicial black-op sites the US set up in the Caucasus and elsewhere and document the evidence. I spoke to David about some of the ideas behind his tragicomic page-turner.
Andrea Scrima: Your new novel, Enemy Combatant, looks back to the Bush era from a point in time still buckling under the enormous pressure of the Trump administration. Before the book even gets underway, we’re given a comparison between these two periods in recent American history: the stolen election of 2000, September 11 and the wars that followed, the reintroduction of enhanced interrogation and torture and, of course, the black-op sites you home in on in your novel—as opposed to kids in cages, half a million Covid deaths, withdrawing from the Paris Treaty and everything else the past administration was infamous for. Looking back over the past 20 years, what similarities do you see between these two periods, and what are the key differences?
David Winner: I don’t like using “neo-liberal” because it’s such a bogeyman term, but it comes in handy while describing the Bush years. There was a hawkish consensus in the United States, a thirst for blood, stemming from 9/11. It’s hard to separate Bush from both Clintons and Tony Blair as they, along with the “reliably liberal” New York Times and The New Yorker, all supported the invasions of Iraq and Afghanistan, which turned out to be a slippery slope to torture. Like the protagonist of Enemy Combatant, I was infuriated by the Bush administration, a fury that was aggravated by the sense of being part of a small minority whose conventional left-wing belief in the flawed history of American foreign policy didn’t get flipped around when the towers came down. Read more »
For some time, Sir Kazuo Ishiguro has been slyly replacing Dame Iris Murdoch as the author to whom I most regularly return. His enchanting and disturbing new novel, Klara and the Sun, his first since winning the 2017 Nobel Prize, is unlikely to diminish this trend. I wrote in a previous column: “Iris was my ‘first’ at age 15 – first adult novelist and first woman writer, and she has remained fixed in my affections over the decades. Under the Net was also her first novel, published in 1954.” Time has moved on from Murdoch’s vanishing fictional worlds, from their now decrepit or deceased characters and their dated opinions. In recent decades we have been hovering on the fuzzy frontier of a strange near-future which many of us will not live to see clearly. Ishiguro seems to have a glimpse of it, and his vision leaves his readers both curious and queasy. Iris Murdoch can lead us, like Lawrence Durrell’s Justine, “link by link along the iron chains of memory to the city which we inhabited so briefly together.” It’s a firm and familiar journey, remembering the foreign country of the past. Ishiguro is eerier — he seems to be forcing us to remember the future. It hasn’t arrived yet, but it already feels as familiar and uncomfortable as our own past mistakes.
Ishiguro’s first novel was A Pale View of Hills, but the first I read was An Artist of the Floating World. Both dealt with post-war Japan, so, given his name and topics, I lazily assumed this was a new Japanese writer in translation. Was he perhaps someone who would transcend his native language and become an international star like Colombia’s Gabriel García Márquez or Portugal’s José Saramago? Of course, he was not. He’s more like an Iris Murdoch, a rare specimen of a quintessentially English writer who arrived in England from somewhere else and, like her, became British enough to be knighted by the Queen. Ishiguro was born in Nagasaki. When he was five, his scientist father accepted a research post in England at the National Institute of Oceanography. The family settled permanently at Guildford in Surrey. Ishiguro had a complete British education, from grammar school to Kent University and a creative writing master’s degree at East Anglia University. He published A Pale View of Hills in 1982, aged 28. Read more »
Mother’s friend departed after their weekly get-together for tea, cakes and gossip, but she forgot to take her book. It was a slim hardback with the blue and yellow banded cover of a subscription book club. It lay on the arm of the sofa for ten minutes and then, before anybody noticed, it vanished – relocated to my bedroom. I was fifteen, and this would be the first adult novel I had ever read. Its title was Under the Net by Iris Murdoch. Iris was my “first” – first adult novelist and first woman writer, and she has remained fixed in my affections over the decades. Under the Net was also Murdoch’s first novel, published in 1954. I was so naively charmed that I made a precocious promise to myself to reread it fifteen years later to see if its appeal lasted. I already knew that in the coming years I would not be rereading my previous favourites, my childhood book collections of Just William, Biggles, Billy Bunter and John Carter’s adventures on Mars. Unlike them, Under the Net had mysteries and ideas I did not yet fathom, but would need to discover.
Dame Iris Murdoch would be 100 years old this July 15 if she had lived to celebrate it, but her brilliant mind faded away in the fog of Alzheimer’s disease and she died twenty years ago in 1999. A recent article in The New York Times lamented that her reputation has also faded with time. “Distressingly, her posthumous reputation is in semi-shambles. Many of her novels are out of print. Young people tend not to have read her. She is seldom taught,” wrote Dwight Garner. Literary reputations are like the actors on Shakespeare’s stage of life, they have their exits and their entrances, but unlike the actors, they can be born again. It is difficult to say if Murdoch’s star is set to rise any time soon. Like many of her 20th-century contemporaries, her novels can seem as ancient as the Victorians. They live in a lifetime before digital watches, never mind computers and the rest of our electronic universe. Few of her characters in their whiteness, snobbery, and obtuseness are people we would find dominant in the streets or cafes of London today. Read more »
How, then, do we get from H. Rider Haggard to Anthony Bourdain? Let’s start with the easy and straightforward. Both are white men, as are Joseph Conrad and Francis Ford Coppola for that matter. Haggard was British; he was born in the 19th century and died in the 20th (1856-1925). Bourdain was American, born in the 20th and died in the 21st, at his own hand (1956-2018). It’s easy enough to interpolate the other two: Joseph Conrad, Polish-British (1857-1924); Francis Ford Coppola, American (1939 and still living).
So much for bare biography. It’s the imaginative life that interests.
Haggard wrote a ton of novels, many of them well-known. The Allan Quatermain stories, starting with King Solomon’s Mines, are said to have inspired the character Indiana Jones. She: A History of Adventure marked the beginning of a different series and is one of Haggard’s best-known novels. If not exactly a high-culture masterpiece, it has been quite influential as one of the founding texts of “lost world” fiction. Wikipedia tells us that it’s been made into 11 films and sold over 83 million copies, making it an all-time fiction best seller, and has been translated into 44 languages.
The photographer, the journalist, and the novelist: wrapped in each other’s facts, cloaked in another reality, set out to worship a city mapped in news and fiction. A peacock sways across the tiled floor brushing its iridescent tail upon black and white marble elongated squares. We slip off our shoes, the floor cool against our restless soles, bare. An unguent. A devotee presses a rose petal on the forehead of a deity’s image. The photographer refrains from taking a shot though the angle is good. Here, photographs are forbidden. But the novelist free to capture images, no matter what, imagines many more. For example, of the journalist, thinking a headline, of just facts “Three people in search of gods in hiding, who whisper: seek us and we will appear.” But knowing, that facts don’t make for good copy or sell papers, the journalist would instead spin a tale: A novelist, shot, by a bearded man, inside a mandir, on M.A. Jinnah Road.”
Bear with me, I have a story to tell, something to sort through, a record to set straight and perhaps a score or two to settle too. So, I’ll begin somewhere in the middle and work to a beginning.
I was contacted by a journalist in March 2008 when I was visiting Karachi. She wanted to interview me for my novel, A Matter of Detail. When we met, I listened with growing guilt and self doubt as she lectured me for a good half hour on how my novel should be written. Then she questioned my right to write such a novel since I no longer lived in Karachi. This done, she told me she was very interested in my novel’s focus on the Bene Israel of Karachi. She told me that she had not known before she read my novel, that there had been a Jewish community in Karachi. My book was her first inclination of this and her first introduction to the Bene Israel community in Karachi. She explained that the interview was for the Friday Times as would be the photographs she wanted to take of me. I told her that, beyond the research that I had carried out, my book is wholly imagined. It is an imagined possibility. My efforts were to create a sensation of sweetness, an essential sweetness in a cultural milieu—symbolized perhaps by the sugar that my character Hajrabai stirs into my character Razzak’s ovaltine in the novel.