First of all, Happy New Year to everyone!
(Many people have been waiting expectantly for 2020 to come in anticipation of some change, but I can’t know if we’ll be better off or worse come this time next year.)
But enough about that.
I want to talk about Kevin Barry’s brilliant new novel Night Boat to Tangier. A friend said that when he heard it described, it reminded him of Martin McDonagh’s film In Bruge, and sure there are two Irishmen, hapless criminal types philosophizing on their lives, past and present, and on their long relationships with each other. For me, however, I kept imagining the two protagonists as Estragon and Vladimir, not waiting for Godot but for a long lost daughter on a ferry on which they themselves used to run drugs twenty years earlier.
As Maurice and Charlie sit in the ferry terminal in the port of Algeciras, Spain in October 2018, watching the passengers boarding and disembarking on the night boat to Tangier, their pasts comes burbling up–outlining and shaping their lives for the past twenty five years. It is a past full of lost love, violence, adventure, betrayal and exile.
But it is not necessarily the plot or the characters that is the focus of this book. It is the language itself.
There are comic turns:
Ye’d be sleeping out on the beaches.
Like the lords of nature, Charlie says.
Under the starry skies, Maurice says.
Charlie stands, gently awed and proclaims–
“The heaventree of stars hung with humid nightblue friut.” Whose line was that, Maurice?
I believe it was the Bard, Charlie. Or it may have been Little Stevie Wonder.
A genius. Little Stevie.*
There is darkness:
Of the dozen or so unreliable narrators narrators left in the room at this small hour, all would claim to have seen what happened next–except for Nelson, who considered himself fortunate to be on the other side of the bar–and, in fact, Jimmy Earls would claim even to have heard what happened next…and it was this ripping sound that Jimmy Earls vowed he would carry with him to the deadhouse, and with it the single dull gasp that [was] made.
And then there are passages of pure beauty:
October. The month of slant beauty. Knives of melancholy flung in silvers from the sea. The mountains dreamed of the winter soon to come. The morning sounded hoarsely from the caverns of the bay. The birds were insane again. If she kept walking, toe to heel, one foot after the other, one end of the room to the other, the nausea kept to one side only. The pain was yellowish and intense and abundantly fucking ominous. Cynthia knew by now that she was very sick.
To be sure, neither of the men is of admirable moral fiber. In fact, they are violent, treasonous, disloyal, cowardly, unfaithful drug runners.
And yet, it is the language that makes these two likable. They see the world with a sort of poetic vision–from the gutter to the stars. It is the language that gives them a method for coping with an ever-disappointing, fearful existence.
Language has always been Kevin Barry’s forte. His first novel, City of Bohane presented a post-apocalyptic Ireland which is described in a patois of street slang, Irish, and invention. In its originality it might remind one of Burgess A Clockwork Orange. Beatlebone–-the novel previous to Night Boat to Tangier–takes perhaps the most public of lives–John Lennon’s–and places a western Irish mythology on it that is dazzlingly beautiful and outlandishly comic.
The words “daring” and “original” and “beautiful” and “brilliant” are often sprinkled around reviews of Barry’s work. They are both appropriate and insufficient. He is much more than that.
*(By the way, it was neither Shakespeare or Stevie Wonder who Charlie was quoting. It was James Joyce.)