Rating: 3 Stars
The literary novelist
labors under certain constraints. Like his less ambitious colleagues, he too
has to hook his readers and reel them in. Unlike them however, he has
self-imposed standards regarding plot, style, and technique. It’s easy to give
in to authorial conceit and undermine the story’s integrity by trying too hard
to be a clever boy.
Speaking of clever, the
heroine of ‘Sweet Tooth’, Serena Frome is presented as a very bright young
woman of the 70s. Having enjoyed an idyllic childhood and seen as being gifted
in Math and Language, she is propelled by her mother to abandon her true love,
English, to pursue the higher study of Math. At the university, she discovers
herself to be relatively mediocre at the subject, but enjoys student life
otherwise – dabbling in a little writing on the side, trying on various
intellectual fashions for size, and, meandering through many desultory affairs.
Thanks to the mentoring of an older lover she finds herself recruited by MI5 at
the height of the Cold War.
Having stumbled into an
accidental career, this inexperienced novice manages to give an impression of
competence to supervisors who should have known better. Serena is assigned to a
project code-named ‘Sweet Tooth’ and starts running her own agent – Tom Haley,
an up and coming writer. Her relationship with him proves to be disastrous, but
for whom exactly is a question answered only at the end, and I do mean the very
end.
Electing to make the
protagonist female is not a good option when there’s a strong strain of
misogyny underlying the novel. For someone who is allegedly intelligent, Serena
evinces no signs of curiosity, insight, or independent thought. By her own
admission she is no rebel, being obedient and submissive; especially when
there’s a man in her life that she’s eager to please, which is almost a
constant. Moving on beyond the hollow characterization, descriptions of the
British Secret Service’s intricate workings are less than riveting. They read
like inner office memos. As for the pace, I had to get half way through the
book before I realized gloomily that the author was still fussing with the
stage decorations – the story was yet to start.
Having got that off my
chest, let me just add that Ian McEwan successfully had me hooked. The slow
pace was irritating, but I still kept reading. Yes, partly it may have been
sheer bloody-mindedness about never quitting on a book as long as there were
signs of life, but I also wanted to find out what happened to this silly girl
at the end. It didn’t hurt that McEwan’s prose is crisp, precise, and elegant. Perhaps,
it also had something to do with the weirdly compelling short stories of the Tom
Haley character. A good writer has a lot of the magician in him. I suppose I
simply enjoyed what McEwan pulled out of his hat for the finale. Clever boy.
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