Many year-end lists, especially those with an eye to the world of indie publishing, have been abuzz with praise for the linguistic gymnastics of Eley Williams and her debut collection Attrib. and Other Stories. And rightly so. Even those readers who might be strangers to experimental fiction have found themselves captivated by the slippery, dazzling wordplay on display. This book—which I read with this month’s Guardian Reading Group, a forum I’ve scarce had time for in recent years but where I probably first learned to analyze, articulate and defend my response to literary works—is certainly a highly entertaining, intelligent, tightly crafted foray into a slightly surreal space where words have a weight and reality that seems to hang in the air, creating the ground for an unusual assortment of narratives.
However, as one might expect, some stories are more effective than others, and though each reader is likely to measure impact differently, I couldn’t help feeling that the whole was somewhat more than the sum of its parts. This is a book well worth experiencing, but one might wonder where Williams could take this type of wordplay from here. Could it be expanded to novel length or does she have her sights on other literary visions? Fortunately, as Reading Group participants, we were able to pose our questions to her yesterday, and rather than rehash that discussion here, I would suggest anyone interested in getting a sense of the exuberance and energy that virtually bounces off the pages of Attrib., to have a glance at the webchat —the same spirit and charm comes through in her responses.
The stories that comprise Attrib. find their origins in the simplest ideas. In the most basic pieces, dictionary definitions and wordplay spark clever scenarios; in the more substantial offerings, her protagonists have odd occupations, want to express how they feel but lose themselves in microscopic self-inspection, or are beset by strange psychological afflictions. Somehow Williams manages to have fun and touch at real anxieties and emotions at the same time, even in the most curious tales.
Her gift for juggling words is evident from the opening entry, “The Alphabet,” artfully subtitled: “(or Love Letters or Writing Love Letters, Before I Forget How To Use Them or These Miserable Loops Look So Much Better On Paper Than In Practice)”. Here the narrator is dealing with a progressive form of aphasia, trying to hang on to her ability to use language as it erodes and, along with it, her relationship:
The plot, yes—the condition of its being lost. I have a great deal of nostalgia for having the plot and a full vocabulary. Both have been lost gradually along with the—what is it—marbles. My marbles, specifically. We have come to specific marbles. I have lost it, I have lost my marbles and I have lost the plot—the Holy Trinity of losing I have lost my faith in—wham bam thank you m’—ma—mate. Maybe the plot was connected with my marbles in some way. Maybe one plays marbles on a plot, plot being synonymous with pitch or field or court. I lost them all long ago is what’s important. Two weeks ago. You took my marbles and it with you and I appear to have mislaid the plot.
In my years working in brain injury, I encountered many people dealing with varying degrees of aphasia, and this bittersweet story captures beautifully, the spirit of losing one’s facility with language.
The title story, “Attrib.”, which, according to her Guardian Q&A was completed just before the manuscript of this collection was submitted, is a stand out—the magic of inspiration under pressure, perhaps? The narrator who has a hypersensitivity for sound, is Foley artist working to create incidental sounds for a soundtrack to accompany a gallery exhibition on Michelangelo which will feature reproductions of his major works. How exactly do you capture just the right sound to signify the Creation of Eve anyway? The theological and practical considerations that arise make for a most amusing dilemma.
While Williams shows herself capable of spinning the simplest idea into delightful yarn, one of my favourite pieces, “Bulk,” demonstrates her ability to orchestrate an eccentric cast to create a story with surprising depth of character. The narrator is a natural history museum employee who joins a collection of onlookers gathered around the carcass of a dead whale washed up on the shore. The protagonist, ostensibly the professional in the situation betrays a lack of confidence and unwillingness to take control that seems, more than anything, to reflect the smallness of humanity against the mass of the proud creature who has met such an unfortunate, undignified end:
‘I will touch it!’ declared the young woman suddenly with a renewed vigour and she slipped from her partner’s arm and ran in an arc out towards the head of the whale, picking out a route over the rocks with shoeless feet. There was an ungainliness about her small size next to the great bulk of the whale. There was an unbalance to the scene on the shoreline generally, as if a note was being sung off-key, or somewhere a pair of parentheses had been left unclosed.
Finally, the majority of the stories are first person narratives and in most cases, the gender of the narrator and, if relevant, the love interest is left unspecified. As a differently gendered reader I tend to be both gender sensitive and gender ambivalent. I like the openness that this approach allows in the reading, and I often prefer it to the awkwardness that sometimes comes through in cross-gendered narratives (authors writing from the opposite gender perspective), but whereas one can develop the personality of the narrator in a short space, the “you” addressed in the more romantically themed pieces can reduce the potential emotional depth of the situations. It is even more challenging when this kind of approach is extended over a longer format. This was the nature of the question I posed to Eley Williams in the chat (you can see it under my uncreative user name “jmschrei”). She responded that she left gender unspecified when she did not think it was crucial to the story but admitted:
I didn’t find writing ‘genderlessness’ a constraint, not wittingly anyway: I think for a reader confused acts of heroism don’t require specific or non-specific awareness of genitals.
Nice answer. I wish real life was more like that.
Attrib. and Other Storiesby Eley Williams is published by Influx Press.