From the first line in The Portable Virgin, I was reminded of why Anne Enright is so much fun to read. If David Foster Wallace proceeds via disclaimer, Enright proceeds via negation. As successfully as any writer I’m aware of, she makes the reader conscious of what she is not saying, what is withheld. The first paragraph of the first page of the first short story, ‘(She Owns) Every Thing,’ is a time that many other authors would have seen a good opportunity to orientate the reader, set them down, let them know what they’re in for, like many of Enright’s contemporaries do in their own short story collections, like one I recently chucked that I won’t name. Enright, instead, is determined to keep the reader off-balance:
“Cathy was often wrong, she found it more interesting. She was wrong about the taste of bananas. She was wrong about the future of the bob. She was wrong about where her life ended up. She loved corners, surprises, changes of light.”
I think Cathy might have some kind of emblematic significance, as Enright frequently orientates her fiction relative to corners, surprises, changes of light and the hows and whys of people being wrong about them. In pursuit of this, much of what Enright does is based around immersing of the reader within a partial perspective in which words are rarely the words alone, while never being gratuitously fancy about it. In this case, one begins to wonder what corners, surprises and changes of light mean for Cathy, what her interest in rather mundane things in life tells us about her, if this interest relates to how wrong she often is, and, wrong according to who, is she wrong to like corners, surprises and changes of light, and if so, why, if they appeal to her as an individual, how can this preference be, of itself, incorrect, and then before you know where you’re at, corners, surprises and changes of light become invested with some half-metaphorical sheen.
Another example: “the bag of dicks escapes, rolls down a flight of steps, shuffles over to the beautiful young girl and starts to wine. She sets them free.
‘What a peculiar language you speak,’ she said mentally, with a half-smile and a nod, as if her own were normal. ‘Normal’ usually implied American. I am Canadian, she used to say, it may be a very boring country, but who needs history when we have so much weather?”
It might take me about half an hour to parse exactly what I think is happening in the above, and the many different directions in which it cuts, which is not, exclusively what I look for in what I read, but it definitely helps.
The Portable Virgin is riven with these sorts of sentences, fun, impossible, witty sentences. Enright is drawn to and elucidates with undeniable skill things like a ‘quiet disgrace’ (not the kind of volume one would expect to attach itself to disgrace), instances of not having sex with an architect (seventeen instances, by the by) and the zero men on a bus.