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The antic gurgles of laughter you find in Self's earlier work are few and far between. In their place, though, is a sustained depth and seriousness, and an ambition of technique that I haven't seen in him before. I don't mean to put you off. Umbrella is old-school modernism. It isn't supposed to be a
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Every experience is filtered through another, or infiltrated by it. At times, this Self-imposed exile from any “fixed regard”, threatens the narrative’s sanity, and its readability, but that is the point. Whether
Umbrella takes experimental fiction beyond the magnificent cul-de-sac into which Joyce
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and has been in a vegetative state since 1918, when she was a munitions worker. The patient, Audrey Death, has two brothers whose activities before and during the First World War are interwoven into her own story. Busner brings her back to consciousness using a new drug
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The novel is written in a flowing fashion without chapters and very few paragraph breaks between scenes. It intercuts between different time periods and is composed of interlaced narratives. In some senses its structuring can be likened to
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breeze. But it is, to use the literary critical term of art, kind of amazing. To frame it in terms of the film
Gremlins, if you fed Alan Hollinghurst's The Stranger's Child after midnight, it might come out looking a bit like Umbrella
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in the 1970s). In the final element of the story, in 2010 the asylum is no longer in existence and the recently retired Busner travels across north London trying to find the truth about his experience with his patient.
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Self has indicated that the book would be the first part of a trilogy, against his own initial expectations. The second part of the trilogy is
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Booker Prize 2012: Hilary Mantel could become first
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steered it is doubtful. But this fresh reminder of the potential of finding new selves – to be and to write with – is extraordinary.
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in 2012, Will Self's first shortlist nomination, although his 2002 novel
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