I'm making my way quite nicely through 'Ringolevio', even without a snow day to speed me along. Already this is proving to be an interesting exercise, trying to more closely examine what it is that I love about my favourites. I think there will be quite a few common threads for me to follow at the end of it.
At first, delving into 'Ringolevio' again, I wasn't quite sure. There is a lot about it that is irritating. It was published in 1972 and the prose style is gushy and just this side of over-stylised. Grogan references Beat poets constantly as 'switching him on' and at times the tone feels a little too close to teenage Beat fan-boy fiction for comfort. But gradually, that's where the charm comes from too as the whole thing is just so completely, wildly enthusiastic about itself. By half-way through the book, the author purports to have become a junkie aged thirteen, done six months in adult prison, gone through cold-turkey, won a scholarship to a posh school, become a successful burglar of the elite classes, run away to Europe to escape the Mob, built a church in the Italian Alps, become a Eurotrash playboy, won a prize for film-directing in Italy, worked with the IRA in Dublin, worked with a porn ring in London, been drafted and discharged from the army in San Francisco. In the midst of January, when I'm feeling like I do nothing else but steer my car through the same dark roads day after day, this could be depressing reading.
Each of these adventures could be a novel in their own right, but Grogan rattles through them all at frightening speed, writing in third person about himself as 'Kenny Wisdom', occasionally dropping out of the narrator role to comment on himself, as himself (he remarks 'To this day, Kenny Wisdom's parents believe that he stole the small, diamond-studded silver band which his father had given to his mother on their wedding day. And it's a drag.')
But even at this speed Grogan manages some lovely touches of writing. There's a lot of heavy handed, drug-addled crap too, but some occasional moments of beauty. A boy nick-named 'Clearhead O'Keefe' is called 'Clearhead' because 'his skull contained no sense of cause and effect, just impulse and illusion.'
The book is mad. The author was probably mad. The plot is mad. I'm wondering if this madness, this lack of structure and rush to narrate, is something that will turn out to be a strand running through a lot of my choices this year.