A Very Short Review of Denis Johnson’s New Novel, The Laughing Monsters

Denis Johnson’s new novel The Laughing Monsters is excellent.

Okay: Too short a review? Well. Look, I read it over the weekend, and got a copy of the audiobook version to listen to this week, and then I’ll write a proper review, but here’s publisher FS&G’s blurb, followed by a few quick impressions:

Denis Johnson’s The Laughing Monsters is a high-suspense tale of kaleidoscoping loyalties in the post-9/11 world that shows one of our great novelists at the top of his game.
Roland Nair calls himself Scandinavian but travels on a U.S. passport. After ten years’ absence, he returns to Freetown, Sierra Leone, to reunite with his friend Michael Adriko. They once made a lot of money here during the country’s civil war, and, curious to see whether good luck will strike twice in the same place, Nair has allowed himself to be drawn back to a region he considers hopeless.
Adriko is an African who styles himself a soldier of fortune and who claims to have served, at various times, the Ghanaian army, the Kuwaiti Emiri Guard, and the American Green Berets. He’s probably broke now, but he remains, at thirty-six, as stirred by his own doubtful schemes as he was a decade ago.
Although Nair believes some kind of money-making plan lies at the back of it all, Adriko’s stated reason for inviting his friend to Freetown is for Nair to meet Adriko’s fiancée, a grad student from Colorado named Davidia. Together the three set out to visit Adriko’s clan in the Uganda-Congo borderland—but each of these travelers is keeping secrets from the others. Their journey through a land abandoned by the future leads Nair, Adriko, and Davidia to meet themselves not in a new light, but rather in a new darkness.

The Laughing Monsters is not the plot-driven spy novel it pretends to be. The novel’s plot is a shaggy dog story, an excuse for Johnson to riff on how adventure tips into madness, how conflicting identities jam up against loyalties.

Johnson is clearly following Conrad’s Heart of Darkness, sure, but there are also heavy hints of Moby-Dick here, and even Blood Meridian (McCarthy clearly is the descendant of Melville and Conrad, of course). But mostly Denis Johnson is following Denis Johnson in The Laughing Monsters.

The Laughing Monsters is also very-much about writing itself: Nair is a writer, and much of the novel takes the form of emails he sends (or writes without sending), notes he scratches on lined paper in dull pencil, and half-mad confessions. Ultimately, the voice that narrates the novel is Nair’s internal composer. The driving force of the story though is Michael Adriko, the charismatic trickster who seems to be creating the plot as he goes along.

More to come, but again, short version: Great stuff.

Read an excerpt from Denis Johnson’s forthcoming novel, The Laughing Monsters

In Arua we took rooms at The White Nile Palace Hotel. Here was the palace, but we’d crossed the Nile twenty kilometers ago. We arrived at night and formed no impression of the surrounding neighborhood except by its sounds—goats and cattle, arguments and celebrations. Surveying the parking area and later the tables in the café, I judged we’d come among missionaries and relief workers—Médecins sans Frontières sorts of people with good, big SUVs and clean hiking shoes. The grounds were well-kept and our quarters were comfortable. I hadn’t quite expected that.

 

At dinner Michael was nowhere in evidence. Davidia and I shared a table with an elderly, exhausted French woman of Arab descent who told us she studied torture. “And once upon a time before this, I spent years on a study of the Atlantic slave trade. Angola. Now it’s an analysis of the practices of torture under Idi Amin. Slavery. Torture. Don’t call me morbid. Is it morbid to study a disease? That’s how we find the cure for it. What is the cause of man’s inhumanity to man? Desensitization. The numbness of the perpetrator. Whether an activity produces pleasure, pain, discomfort, guilt, joy, triumph—before too long the soul grows tired and stops feeling. It doesn’t take long. Not too long at all, and then man becomes the devil, he laughs at his former scruples, he enslaves and tortures without compunction.” The woman’s taut, quivering neck, her mouth opening and closing . . . Halfway through her dessert of ice cream with chocolate sauce, without a word, she got up and left the table.

Read the rest of the excerpt at FS&G’s blog Work in Progress.

“The Man Who Was Killed” — Denis Johnson

mankilled

Lydia Davis/Denis Johnson/Curzio Malaparte (Books Acquired, 4.06.2013)

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Purged the books pictured in the lower right-hand corner and picked up a few: Curzio Malaparte’s Kaputt, which has intrigued me for awhile now, Denis Johnson’s Fiskadoroin the Vintage Contemporaries edition no less!—and Lydia Davis’s novel The End of the Story, which I somehow haven’t read yet. Hypothesis: Lydia Davis and Denis Johnson may be America’s greatest living novelists (?).

 

“Radio” — Denis Johnson

Barry Hannah on Denis Johnson’s Book Jesus’ Son

Certain books, the ones I’m always looking for and hardly ever finding—true codes of entry into other hard spiritualities—you have to read while you’re walking, say, even through a crowded airport. Such was Denis Johnson’s Jesus’ Son. Those of us who’ve come out of the serious dope-and-drink world may have forgotten the strange poetry and curious religious cast of events, but Johnson hasn’t. It takes an authentic poet to catch the strange, tragic hope and cheer as well as the squalor of that life, and Johnson surely is one.

Barry Hannah on Denis Johnson’s Jesus’ Son; from the January, 1994 issue of SPIN.

 

A Short Riff on Those Horrid, Wonderful Vintage Contemporaries Paperbacks of the 1980s

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I’ve been a fan of Vintage Contemporaries for years. I’m pretty sure the first one I ever picked up was Raymond Carver’s Cathedral. I recall being vaguely dismayed about the cover and trying to find another used edition, but thrift won out. This was in the early or mid nineties, and book design was trending toward a more minimal, conceptual style.

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In contrast to a tasteful, minimalist cover, the Vintage Contemporaries edition of Cathedral is garishly literal. Ditto the cover for Denis Johnson’s Angels: sure, there’s a symbolic touch in those storm clouds, and a surreal tweak in the laser lights, but there’s something ghastly about the whole design.

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Even the cover for Jerzy Kosinski’s twisted horrorshow-in-vignettes Steps is remarkably literal—sure, the image seems surreal, but it’s straight out of Kosinski’s text. (It’s also one of my favorite covers in the line).

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Anyway, in the past few years I’ve kept an eye out for certain titles from the Vintage Contemporaries line, even if I already own the book in another edition—DeLillo, for instance, or Cormac McCarthy. I was thrilled to find this edition of Suttree earlier this year. (And I’d love to get another copy of Harold Brodkey’s First Love and Other Sorrows; I gave mine away to a friend).

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I’d been wanting to write about the Vintage Contemporaries series for a while now, and had even gone so far as to write to a few artists and designers I know to see if they could put me in touch with a source of info. A few weeks ago, Mahendra Singh was kind enough to point out a thorough, in-depth essay on Vintage Contemporaries over at Talking Covers. Plenty of history, photos, and even interviews. It’s the mother-lode, the post I wished I could’ve mustered. (And if I seem a bit jealous, I can console myself in the knowledge that they used my first pic of Suttree. So there’s that). I encourage you to check it out.