NEWSTATESMAN
(www.newstatesman.com/200602130037)
Fiction
- Father and son
Published
13 February 2006
Mother's
Milk
Edward
St Aubyn Picador,
279pp, £12.99
ISBN
0330435892
The
English aristocracy has long
had a gift for passing on not
just dilapidated homes to its
offspring but emotional wreckage
as well. This grim inheritance
was the subject of Edward St
Aubyn's semi-autobiographical
Patrick Melrose trilogy, which
appeared - to great acclaim
- in the mid-1990s. Here, in
three crisp novellas, was a
ruthless, funny and only occasionally
cartoonish prosecution of a
social class. In the first
book, Never
Mind,
we encountered a five-year-old
Patrick being raped by his
father at the family home in
France. Book two, Bad
News,
trailed Patrick as a heroin-addicted
22-year-old shuffling chaotically
between New York, Paris and
London in the aftermath of
his father's death. Book three, Some
Hope,
was a more satirical (though
no less acidic) affair, set
at a party attended by a 30-year-old
Patrick and featuring a large
cast of posh people including,
memorably, Princess Margaret.
Not
long after I read the trilogy,
I met someone who vaguely knew
St Aubyn. "Ah
yes, Teddy," I
remember him say-ing. "Became
a heroin addict because he
was buggered by daddy." The
implication of this remark
was obvious: proper men take
that sort of thing on the chin,
and don't resort to such easy
routes out as drug taking (and,
indeed, novel writing). But
what if you do "take
it on the chin"?
What sort of person are you
then likely to become? By book
three of the trilogy, a
now drugs-free Patrick had
achieved some understanding
of the role they played in
his life: "As
his struggle against drugs
grew successful, he saw how
it had masked a struggle not
to become like his father.
The claim that every man kills
the thing he loves seemed to
him a wild guess compared with
the near certainty of a man
turning into the thing he hates."
If
your dad is the kind of person
who rapes his own son, the
struggle to avoid becoming
like him assumes great importance
when you yourself have children. Mother's
Milk picks
up the action some 15 years
later. Patrick, now in his
forties, is a barrister. He
is married and has two young
sons. His life is not a complete
disaster, but neither is it
going very well. He drinks
more than he should and complains
obsessively about his slowly
dying mother, who has signed
the family house (and with
it Patrick's inheritance) away
to a money-grubbing New Age
guru. His wife, Mary, has stopped
wanting to sleep with him,
for which Patrick compensates
by rekindling old flames and
lusting ineffectually after
younger women.
Above
all he is preoccupied - to
an almost neurotic degree -
with trying to avoid wrecking
his sons' lives. And yet he
sees only too clearly that
this carries its own dangers: "Even
if he was an affectionate father,
even if he wasn't making the
gross mistakes his parents
had made, the vigilance he
invested in the task created
another level of tension, a
tension which Robert [his elder
son] had picked up on."
The
novel takes place over four
summers, and its perspective
shifts between Patrick, Mary
and Robert. Of the three, Mary
is the least interesting: she
comes across as strangely lifeless,
too submerged in motherhood
to be distinct. The attempt
to inhabit Robert's head is
more successful. St Aubyn wrote
luminously about his own childhood
in Never
Mind,
and in describing Robert's
life he adopts an in-teresting
hybrid adult-child perspective,
attributing to Robert thoughts
that an intelligent child could
plausibly have, while expressing
them in language of which he
would not be capable.
What Mother's
Milk lacks
is the sort of gleeful dissection
of upper-class life found
in the trilogy. Its satire
is too often directed against
easy targets: Robert's nanny
("the
most boring person we've
ever met");
a nouveau-riche family the
Melroses visit in France.
St Aubyn's earlier books
contained descriptions of
vicious prejudice and snobbery
without seeming snobbish
or prejudiced. Unfortunately,
this isn't always the case
here. When the Melroses stay
in New York, all they can
talk about is how ghastly
the place is. They endlessly
joke about the "God
Bless Our Troops" signs
(this is 2003), the "disgusting
food",
the forced (as they see it)
friendliness of the waiters.
But all St Aubyn is doing
here is mocking what is in
any case a stereotype.
The
satire in his previous works
may not always have been subtle,
but at least it had bite. In
documenting Patrick's (admittedly
partial) escape from the aristocracy,
has St Aubyn thrown away his
best subject?
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