Ann Quin’s 1964 novel Berg begins with one of the best opening lines I’ve ever read:
A man called Berg, who changed his name to Greb, came to a seaside town intending to kill his father…
This opening line encapsulates the plot of Berg, its terminal ellipses pointing to the radical indecision that propels the novel’s central oedipal conflict—will Berg do it? Can he actually kill his father?
The “seaside town” mentioned in the opening line is presumably Brighton, where Quin was born and died. Quin’s Brighton is hardly a holiday-goer’s paradise though. Grimy and seedy, claustrophobic and cold, it’s populated by carousers and vagabonds. There’s a raucous, sinister energy to Quin’s seaside setting; her Brighton is a combative hamlet pinned against the monstrous swelling sea.
While we sometimes find ourselves in this seaside town’s drunken dancehalls, shadowy train stations, or under grubby piers, most of Berg takes place in a dilapidated boarding house. Here, Alistair Berg (going by Greb) has taken a room adjacent the room his father Nathaniel lives in with his younger mistress Judith. Nathan and Judith’s apartment is a strange horror of antiques and taxidermy beasts. Berg’s apartment is full of the wigs and hair tonics he ostensibly sells for a living. It’s all wonderfully nauseating.
Through the thin wall between these two spaces, Berg hears his father and mistress fight and fuck. He attends both animal grunting and human speech, an imaginative voyeur, and is soon entangled in their lives, as neatly summarized in a letter to his mother Edith, the fourth major character who is never-present yet always-present in the novel. Writing to thank Edith for a food parcel she’s mailed him (Berg is a mama’s boy), he reports:
How are you? Everything here is fine. I’ve seen my father, but so far haven’t revealed who I really am (how Dickensian can one get, and what can I really put—that he’s been fucking another woman next door, and probably a dozen others besides over the past fifteen years, is about to go on tour with some friend in a Vaudeville show, trailing a dummy around, that he’s in love with a budgie…?) Somehow I think you’re better off without him, he seems a bit the worse for wear, not at all like the photograph, or even like the ones you already have of him, and he still hasn’t any money, as far as I can make out he’s sponging left right and centre.
After promising to return home in time for Christmas, Berg signs off with this ambiguous and oedipal ending: “Meanwhile—meanwhile—well I’m going to fuck her too…”
As the novel progresses, the relationships tangle into a Freudian field day: Berg and his father Nathaniel; Berg and his mother; Berg and Judith; Judith and Nathaniel; Nathaniel and Edith. Desire is a funny floating thing in Berg, which plays at times like a horror story and at times like a demented closet farce. As the narrative voice tells us at one point, “no one is without a fetish or two.”
Berg’s desire to kill his father is explored, although his rationale is muddy. Certainly, Edith, whose voice ventriloquizes Berg’s memory, helps spur Berg’s oedipal impulse: “There you see that’s your father who left us both,” she tells him as a boy, pointing to a photograph, adding, “you’ll have to do a lot to overcome him Aly before I die.” So much is loaded into that word overcome. Quin’s novel is precise in its ambiguities, evoking a feeling of consciousness in turmoil.
Berg’s turmoil is indeed the central thrust of the novel. He can’t decide to patricide. Berg works through the justifications for murder, ultimately trying to root out the impetus of his desire to kill his father. “Of course it’s ridiculous to think the whole thing is simply a vehicle for revenge, or even resentment—hardly can it be called personal, not now, indeed I have never felt so objective,” he tells himself at one point, sounding like one of Poe’s maniacs. Quin’s narrative affords him several opportunities to go through with the murder, but, in the novel’s first half anyway, he stalls. “Yes, that’s what it amounts to, decide rather than desire,” he proclaims.
Like Prince Hamlet, Berg is terribly indecisive, spending much of the novel vacillating between action and inaction, letting his consciousness fly through every imaginative possibility. Indeed, the main setting of Berg is not really Brighton or the boarding house, but Alistair Berg’s mind. And yet consciousness is his biggest curse: “Definitely the supreme action is to dispose of the mind, bring reality into something vital, felt, seen, even smelt. A man of action conquering all.” Later, he tells us that “The conscience only sets in when one is static,” coaxing himself toward action. Berg aspires to more than Eliot’s Prufrock. He desires to be more than an attendant lord to swell a progress, start a scene or two.
Indeed, Berg is author, director, and star in this drama of his own creation—he just has to finally follow the call to action. When he finally does snap the mental clapperboard, he comes into the possession—or at least believes he comes into the possession—of his own agency: “How separated from it all he felt, how unique too, no longer the understudy, but the central character as it were, in a play of his own making.”
Throughout Berg, Quin employs a free-indirect style that emphasizes her character’s shifting consciousness. Whatever “reality” Berg experiences is thoroughly mediated by memories of his mother’s voice and his own projections and fantasies. Consider the shift from “he” to “I” in these two sentences:
Half in the light he stood, a Pirandello hero in search of a scene that might project him from the shadow screen on to which he felt he had allowed himself to be thrown. If I could only discover whether cause and effect lie entirely in my power.
Perhaps his dramatic flair comes from his father, a vaudevillian ventriloquist whose most prized possession is a dummy. The dummy is the tragicomic symbol at the heart of Berg, a totem of the way that other voices might inhabit our mouths and drive our desires in bizarre directions. Berg, desirer of the power to cause and effect, often sees others around him as mere props. “She’s not unlike a display dummy really,” he thinks about Judith, who accuses him as someone who’s “always playing a part.” Hefting (what he believes to be) his father’s body, Berg, “aware of the rubbery texture of the flesh,” thinks, “ah well the old man had never been a flesh and blood character really.”
Berg is both victim and hero in a mental-play that he aspires to make real. Consider this wonderful passage that collapses Berg’s monomania, prefigurations of guilt, and dramatic impulses into a courtroom trial:
Alistair Berg, alias Greb, commercial traveller, seller of wigs, hair tonic, paranoiac paramour, do you plead guilty? Yes. Guilty of all things the human condition brings; guilty of being too committed; guilty of defending myself; of defrauding others; guilty of love; loving too much, or not enough; guilty of parochial actions, of universal wish-fulfilments; of conscious martyrdom; of unconscious masochism. Idle hours, fingers that meddle. Alistair Charles Humphrey Greb, alias Berg, you are condemned to life imprisonment until such time you may prove yourself worthy of death.
Berg’s guilt fantasies are bound up in a sense of persecution as well as his notion that he is the real hero of this (his) world, in his belief that he is above “the rest of the country’s cosy mice in their cages of respectability”:
A parasite living on an action I alone dared committing, how can they possibly convict, or even accuse one who’s faced reality, not only in myself, but the whole world, that world which had been rejected, denounced, leaving a space they hardly dared interpreting, let alone sentence.
Although Berg takes place primarily in Our Boy Berg’s consciousness, Quin leavens the fantasy with a hearty ballast of concrete reality. Consider this icky sexual encounter between Berg and Judith, which involves hair tonic and a nosy landlady:
Berg shrank back, bringing Judith with him, she taking the opportunity of pressing closer; sticky, the tonic now drying—gum from a tree—almost making it impossible for Berg to tear himself away. He felt Judith’s warmth, her soft wet tongue in his ear, soon she became intent on biting all available flesh between hairline and collar. But the landlady’s demanding voice made her stop. Berg sank back, while Judith squirmed above him. But as soon as the landlady seemed satisfied that no one was about and closed the door, Judith began licking his fingers. He pulled sharply away, until he lay flat on the floor, his head resting against something quite soft. Judith began wiping his clothes down with a large handkerchief that distinctly smelt of wet fur and hard-boiled sweets. He tried getting up, but she leaned over him, and in the half light he saw her lips curl almost—yes almost—he could swear in a sneer, a positive leer, or was he mistaken and it was only the lustful gaze of a frustrated woman? He jerked sideways. Judith fell right across the body.
Ah, yes — “the body” — well, does Berg carry out his patricide? Of course, in his imagination, a million times—but does his mental-play map onto reality? Do you need to know? Read the book.
Read the book. There’s nothing I can do in this review that approaches the feeling of reading Ann Quin’s Berg. I can make lame comparisons, saying that it reminds me of James Joyce’s Ulysses (in its evocations of loose consciousness), or David Lynch’s Blue Velvet (in its oedipal voyeuristic griminess), or Luis Buñuel’s The Exterminating Angel (for its surreal humor and dense claustrophobia). Or I can point out how ahead of her time Quin was, how Berg bridges modernism to postmodernism while simply not giving a fuck about silly terms like modernism and postmodernism. Or I can smuggle in big chunks of Quin’s prose, as I’ve sought to do, and which I’ll do again, like, here, in this big passage wherein our hero dreams:
Two white-foaming horses with female heads and hooves of fire, with strands of golden mane—honey cones—bore him across a silken screen of sky, over many islands that floated away, and became clouds, a landscape of snow stretching below, and above a canopy of gold. But a harsh voice needled him, pin-pricked his heart, and three drops of blood poured out, extended across the canopy. From this whirlpool a shape formed, then a massive head appeared, without eyes. He turned to the horses, but they were now toads, squat and squeaking, leaping into the hissing pool. The face grew, the mouth opened, swallowing everything, nearer and nearer, until he felt himself being sucked in, down, down and yet farther down, into quicksands of fire and blood, only the dark mass left, as though the very centre of the earth had been reached. The sun exploded between his eyes. He stood up, practically hurling the rug over his shoulder, and jogged towards the station.
Or I can repeat: Read the book.
Of course Berg is Not for Everyone. Its savage humor might get lost on a first read, which might make the intense pain that underwrites the novel difficult to bear. Its ambiguities necessitate that readers launch themselves into a place of radical unknowing—the same space Berg himself enters when he comes to a seaside town, intending to kill his father.
But I loved reading Berg; I loved its sticky, grimy sentences, its wriggly worms of consciousness. I wanted more, and I sought it out, picking up The Unmapped Country, a collection of unpublished Quin stuff edited by Jennifer Hodgson and published by And Other Stories, the indie press that reissued Berg. Hodgson is also a guest on the Blacklisted Podcast episode that focuses on Berg. That episode offers a rallying ringing endorsement, if you need voices besides mine. The Blacklisted episode also features a reading of most of novelist Lee Rourke’s 2010 appreciation for Ann Quin’s Berg. (Rourke had championed online as early as 2007.) Rourke should be commended for being ahead of the curve on resurfacing a writer who feels wholly vital in our own time. He concludes his 2010 piece, “Berg should be read by everyone, if only to give us a glimpse of what the contemporary British novel could be like.” Read the book.
Quin wrote three other novels before walking into the sea in 1973 and never coming back. Those novels are Three (1966), Passages (1969), and Tripticks (1972). I really hope that And Other Stories will reissue these in the near future. Until then: Read the book.
[Ed. note—Biblioklept first published this review in the summer of 2019.]