ONE OF THE GREAT PLEASURES for us at Los Angeles Review of Books has been the opportunity afforded for serial discovery. In this case, of the extraordinary English writer Clive Sinclair, whose bibliography betrays the influence of everyone from Nabokov to John Ford, but also of the splendid quarterly Contrappasso, a periodical that — like Sinclair — moves restlessly, thrillingly among its interests and concerns. From neglected masters like Floyd Salas and James Crumley, to less-neglected ones like David Thomson and Elmore Leonard, the Sydney-based Contrappasso publishes international writing of the highest order. We are pleased to present Contrappasso editor Matthew Asprey’s interview with Clive Sinclair, below, and encourage you to visit contrappassomag.wordpress.com to discover more.
CLIVE SINCLAIR was born in England in 1948. He is a recipient of the Somerset Maugham Award, the Jewish Quarterly Prize, and the PEN Silver Pen Award for Fiction. He holds a doctorate from the University of East Anglia and is a Fellow of the Royal Society of Literature.
Sinclair’s novels include Blood Libels (1985), Cosmetic Effects (1989), and Meet the Wife (2002); his stories have been collected in Hearts of Gold (1979), Bedbugs (1982), and The Lady with the Laptop (1996). Sinclair’s most recent book is True Tales of the Wild West (2008), an experiment in the new genre of “dodgy realism.”
The following interview is based on a transcript of a conversation I had with Sinclair at his home in London in early 2011. More than a year later, the raw transcript was edited and restructured, supplemented by further questions and answers by email, and finally revised by interviewer and interviewee.
MATTHEW ASPREY: Your first book, Bibliosexuality (1973), is a very obscure title. I’ve never seen a copy. Do you want to tell me anything about it?
CLIVE SINCLAIR: I’d rather not but, since I can see the thumbscrews bulging in your pockets, I’ll oblige. The title is a neologism, of which I remain rather proud, and look forward to one day seeing housed in the OED. Bibliosexuality describes a disorder of the senses in which a perverse relationship with a book is not only desired, but also achieved. In short, the novel offered the world of letters as a substitute for the real thing. The main influence on it would be my time at the University of East Anglia, where I encountered the likes of Malcolm Bradbury, Angus Wilson, Jonathan Raban, and the Sages — Lorna and Victor. I had no idea what I was getting into. I went there in a completely arbitrary fashion and as a complete innocent. The aforementioned practiced what was then called New Criticism, which insisted that the text be examined as an artifact entire unto itself. The very opposite of structuralism, unknown (at least to me) at the time. You — the critic — ask about the author’s intentions and intentionality. For example, that yellow vase on the shelf. Why yellow? You assume everything is there for an artistic purpose. The book that I produced as a consequence was immensely self-conscious. Of course it was he...read more