Bruce is head of a financial consultancy firm founded by his father in the 1970s. We first find him as a young man, learning the business. At the same time, what has been a frivolous liaison with his friend Marisa Rae begins to deepen and intensify. However, the relationship gradually falls apart as Bruce moves further into the world of commerce and Marisa's left-wing views lead her towards a radical feminism.
Some twenty-five years after these events, a chance entry in one of Bruce's business listings shows that
Marisa is now boss of the Rae Agency – a media PR concern. Bruce, as he recollects their partnership, is torn
between his staid if harmonious family life, with his marriage to Henrietta, and renewing contact with Marisa.
Finally, when he does decide on a course of action, he has to face the truth of not having grasped the widening cultural and social separation their two very different views of the world have wrought over the intervening
quarter century or more.
…an extraordinarily mature and assured story. The narrative moves at a gentle pace, but carries the reader into an intricate psychological and profound journey that has similarities with early Hermann Hesse…
Malcolm Stern, author Falling in Love/Staying in Love (Piatkus).
Review by Jennifer Armstrong
Bruce Junior, protagonist of Marisa and surveyor of English middle-class life, has everything a rising urbane professional college boy could ask for: a life happily circumscribed, a ready-to-wear career path, and a position in haute bourgeois society, courtesy of his father, who is also named Bruce. Yet something's missing, and not just the smile on his face, which Junior first notices in the collection of family photos his father had gathered together in extremis. This particular lack is an unconscious one, engendered by his upbringing, and is indicative of a determined source of absence.
It's not that Bruce isn't able to choose to go against his mother and father's will, in the sense that Edith
Wharton reminds us in her novel, The Age of Innocence, where romantic loss can be an outcome of a good son's class loyalty. For Bruce, it isn't the will to make a decision that is missing. His problem is a lack of the
associated underpinnings of passion, which solidify a romance into something more than just ephemeral upper-class dreaming, nightmare material or vainglorious gesture.
Marisa is a modernist romantic tragedy, which tips its hat to Wyndham Lewis, Henry James, Edith
Wharton, Henri Bergson and others. Yet Cowlam's novel has more to offer than this. It explores a broad range of
intellectual themes, such as the psychological dynamic of left-wing and right-wing politics and their relation to art, male and female conceptions of love, our intuitive conceptions of time and the tragic nature of humour.
Its rhetorically understated quality is developed on an unbridgeable gulf that is not defined by overt cultural
boundaries or moral 'sin' – it is more peculiar, more esoterically haunting than that. After all, Marisa and Bruce
share much of the same cultural context, even though their values appear to differ more widely as the drama progresses.
There is a subtlety to Bruce's despair, since he longs for the intoxication of a powerful artistic effect, able to deliver the message he secretly longs for: that 'the social mores we take for granted every day' might give us less than the full serve demanded of our human desires in the world. This intoxication is not to be imbibed in the form of seemingly lowbrow student confections, however. Form is not only as important as function – it is the fundamental key for Bruce, aiding him in determining his class calling on the basis of certain straightforward and external social signs. Therefore, it must be via his own elitist social circle that the artistic message can reach him, one by which the 'whole cosy notion of what civilisation is, is undermined.'
Yet, the ironic tragedy is that the corporate class to whom he owes his loyalty cannot deliver the level of
passion and truth he craves. The only one who can do that is Marisa, and she belongs to a tribe not of fact-based,
hard-headed financiers, but of artists. Bruce appears to represent form in search of content, whereas Marisa, his
love interest, ever eluding his knowledge and control, is unable to show him her substantial, if aesthetically and psychologically murky content (from Bruce's perspective at least).
The narrative of recollection is in the form of Bruce's reminiscence. Through his darkened lens, Marisa
appears in various manifestations – a ghostly figure ministering to his needs, or a highly abstractive and
impractical person, unable to convey her intended artistic and personal meanings. Whereas the reader suspects that Marisa's character is in itself deep and complex, we know what she aspires to only via Bruce's selective
memories, his eye for her liberal left tendencies often patently and openly jaundiced.
On Bruce's part, such perceptual bias is the formula of failure to engage. This appears to lead (and it's only his perspective we know) to events of a sadistic or masochistic nature. As Bruce becomes the domineering inheritor, and manipulator, of patriarchal power and finances, Marisa engages in a masochistic act, not entirely distinguishable in form from the contemporary feminist statement of Annabel Chong. Furthermore, this might have been judged to spite Bruce, not just as an enactment of 'feminist' artistic statement. What can this and other feminist performance mean for women? This is one of the subtle questions indirectly raised in the novel.
There is subtlety in the plot, so that we're unsure of what exactly is taking place, psychologically, with Marisa and with Bruce. The dynamic that resonates most strikingly is that of British class social inflections of meaning and differing value systems. The plot's development is adeptly marked by Bruce's realisation of loss throughout the narrative's latter part.
Aesthetically, the novel is completed by Bruce's desperate effort to recall the detail of his life with Marisa a long time ago, to recapture and retain a vestige of living passion. Indeed, most of Bruce's ill-fated attempts to repossess the essence of Marisa is represented in his act of collecting: thus it is that Bruce peruses the memoirs he has stockpiled from Marisa's life, still perhaps not understanding some of the intentions underlying her artistic endeavours. The gender dichotomy is delicately represented: it is one of an objectifying male collector of Marisa-
memoirs alongside an ephemeral and subjectively simplified potential 'collectee', reminiscent of John Fowles' intriguing and gender-archetypical depiction of Clegg and Miranda in his novel The Collector.
There is a dry sardonic tone to Cowlam's Marisa. A soft sense of mirth flows through the narrative, as
we learn to see how the eye that seems to see all, also fails to see aspects of meaning relevant to his intimate
interests. We are treated to an education concerning what it might be like to see the world through the eyes of an upper-middle-class Englishman. Readers will experience his repressed way of looking at the world, his reflexive dismissive propensities, his regularly intelligent but overdrawn artistic flourishes (a function of his self-appointed semi-aristocratic role as arbiter of taste) and yet often classically imbued turn of phrase, his interest in the material quality of good nourishment, preferably imbibed within tasteful interiors boasting thoughtfully chosen furnishings
as well as his paradoxical interest in mysterious, elusive (because passionate) modern forms of art.
Bruce has everything a British rising middle-class individual could ask for. Yet something tragic happened to him at a crucial point at approximately the middle of the book, where his élan vital undergoes a
transformation for the worst. Nobody knows it – except finally perhaps Bruce himself. Whereas mechanistic, linear time appears to go on as before, and his son, Bruce Three, is born, and so continues the line of Bruces, Bruce's own intuition of time has radically changed. Worse, he now knows something he didn't know before, which he wishes he hadn't apprehended: that ghosts and murky lures of the imagination can no longer simply pass for fanciful left-wing tropes, but are finally to be taken as…something all too real.
To read more reviews and for more information generally see CentreHouse Press
Excerpt
Chapter 10
BUSINESS SUCCESS I have never found that difficult. The deal I set up with our new traders on
Wall Street enabled us to move to more prestigious office space nearer central London, which -- if it hardly caused
a smile -- I was pleased about. Apart from actual negotiations I slumped into the awful routines of tourism, which
brought me to my hotel bar at five every evening, where I drank too many gins, and tottered to the elevator -- then up to my room -- long after hors-d'oeuvres had been served in the dining room. Here in the insulated hush, with only a swish of air conditioning, I threw myself into the hollow of my bed and leafed dejectedly through the hotel information pack. Propped in my pillows, I phoned Marisa several times, without ever finding her home, then early one evening (Eastern Time), after my second shave, she at last picked up one of her newly installed extensions. There was a party in the background -- music in a whirl from that inherited hi-fi -- and the audio pyrotechnics of voices hooting at the stars.
'You sound very distant,' she said.
'I am very distant. Sounds like you're having a get-together.'
'It's wilder than that, Bruce. Why not come over?'
'I would. Problem is, at this moment I'm looking out from my hotel room at the evening
silhouettes over Central Park.'
'Ah -- that explains the weird delay.'
The first faint signs of the illness that laid me low for a fortnight showed themselves a few
days before I was due to fly back home. They'd turned into a full-blown something -- 'flu, or one of my famous
viruses -- on the morning I sat in the limousine, waiting to be driven out to JFK. I recall, through the haze of
pharmaceutical potions I'd dosed these last of my New York days with, how in the blooms of a very sore nose I tested a long dreary succession of Kleenexes, discarding an empty box number one well before baggage check-in. Gesundheit is what the smiling baggage handler said.
I took my seat above the wing and anaesthetised myself for practically the whole duration of
the flight, choosing an endless ingestion of Scotch with ice. Not unnaturally I'd turned a dispirited shade of cabbage when finally the plane touched down, after cumulative loops through the ether (the runway when we
skimmed to ground was wet with rain). Then, infuriatingly, I emerged as the very last man on earth to find his
luggage, the occasion crowned by the forensic deliberation with which I had scrutinised every vagary and nuance
of the carousel, going on and on on its ceaseless circuit.
Happily Bruce Senior never quite gave up on me. I found him skimming through a furrier's
magazine, looking bored and forlorn, and not entirely comfortable on the bright plastic bench he'd found for
himself. Not unwisely this he had chosen for its close proximity to one of those many TV screens, all pulsating
every so often with new and newly confirmed departures and arrivals. I saw him glance up at it, a puzzled frown remoulding itself to a crooked smile once he'd caught sight of me. I explained what had held me up.
'Oh. Bad luck. You look terrible.'
'Feel terrible.'
'Come on. Let's get you home.'
I clambered into a very cold bed, and after five or ten minutes clambered out again, forced to
answer persistent rings at the door, where under the storm porch, grinning very cautiously, my mother's daily help
bore gifts and tidings in the form of a thermometer and a very hot water bottle. I took myself back upstairs, where under the whips of fire and icy perspiration an indissoluble grey kaleidoscope engaged its teeth and cogs through a multiplicity of changing images, all in a kind of Futurist delirium, which I tried hard to shake off. The shifting scenes it inflicted almost always had at their centre a persona I knew to be Marisa, yet whose looks were antithetic to the wonder of her being, and cloaked in an enigmatic aura telling me to accept this vague new principle of life. She came to me open-armed in the stodge of middle-age, and suffering badly with gingivitis. Then as a disreputable teenager she planted one sugary kiss on my cheek, before collapsing into a fit of coquettish giggles. At worst she was badly overweight, with a weakness for gooey chocolate, one of those luxuries I knew she eschewed.
Our trysts and assignations occurred invariably under extreme conditions, and always in a
bizarre locality. There was I remember a motor workshop, its whole capacity temporarily reprised to a gigantic, yet
flaccid exhaust pipe, its needs critical, dire, remedial. Recurring too often for what sanity I then possessed was a Thames-side building site (some new skyscraper shooting up in seconds, in a whirr of worker-ant activity). Worse followed out at sea (worse always follows out at sea), where under a frozen spray of Shetland foam we tried
desperately to talk above the din of an oilrig (what, pray, was our business there?).
She must have heard I was ill, because she phoned. 'How are you?' she said.
'Let's put it like this -- if it now gets worse rather than better, the next stage is rigor mortis.'
'Would you like me to come over?'
'I'd love you to come over.'
'Shall I bring a priest?'
'Very funny.'
I relapsed immediately into that whirligig of deluded images, my diseased thoughts floating this time into the distant territories of extra-terrestrial life, where a race of people, much more ancient than our own, had burnt off their own precious eco-systems several million years ago. Some certain foresight had accompanied that destruction, and they had built not spaceships, but whole planets -- with seas and hills and mountains and arable lands, and an atmosphere. These vast worldly structures came with built-in self-propulsion technologies, the plan being to voyage out in all known directions, so increasing what chances the race as a whole might have of surviving genetically. This madness I'd cooked up did have its certain underlying logic, when in a
half-awake dream state I engaged with all the differing destinies these separated travellers -- all of a common stock -- were likely to evolve through, depending on what problems or opportunities they encountered. But the whole mental edifice tottered under so many offshoots and replications that eventually -- my quilt cover damp with the fever I exuded -- it all came tumbling down. What remained was a kind of global empathy I had for these very
resourceful people -- the cosmic gipsies we might have to become -- cut off forever from their birthright, and
condemned to wander eternally through the lethal emissions dusting the universe we share. Then suddenly I too
was a cosmic gipsy, a man homeless, and never quite sure where to go -- then of course the doorbell rang, and the
nightmare tucked itself away, and there was my mother's help bearing a mug of stew.
I cannot be certain of what is now just as improbable a recollection -- and one that still persists -- of the moment I think Marisa called. I wring out the mental contortions of all those febrile days, but what I still don't remember -- it's a blank absolutely -- is all the practical mundaneness of hearing the bell, of putting on my robe, of letting her in. She poured me a glass of water, and emptied grapes she'd brought -- the first of her gifts, for which she must have found my little Chinese bowl, which she rinsed in the sink. She told me her life had changed in oh so many ways. Then she put me to bed and prinked my pillows. Here I beheld her, perched at the edge of my mattress, smiling in that mystical way she sometimes had. Then she pulled down the quilt, and likewise the shorts I wore in bed, then having petted my manhood to the fullness of its pride she adjusted her own undergarments and
raised the hem of her dress. This first of our liaisons must have demanded allowances as to the fragility of her
patient, for I closed my eyes and mustered no personal effort at all -- how could I, I was almost dead -- yet learned to float and fall in that capacious heaven in every expert stroke, a testament of slow and perfected circles. When I woke she wasn't there, and I doubted that she had been -- yet there was the glass of water, there the grapes, and I didn't think the dampness of my bed was solely the fever.
Professional Reviews
Jennifer Armstrong
Bruce Junior, protagonist of Marisa and surveyor of English middle-class life, has everything a rising urbane professional college boy could ask for: a life happily circumscribed, a ready-to-wear career path, and a position in haute bourgeois society, courtesy of his father, who is also named Bruce. Yet something's missing, and not just the smile on his face, which Junior first notices in the collection of family photos his father had gathered together in extremis. This particular lack is an unconscious one, engendered by his upbringing, and is indicative of a determined source of absence.
It's not that Bruce isn't able to choose to go against his mother and father's will, in the sense that Edith Wharton reminds us in her novel, The Age of Innocence, where romantic loss can be an outcome of a good son's class loyalty. For Bruce, it isn't the will to make a decision that is missing. His problem is a lack of the associated underpinnings of passion, which solidify a romance into something more than just ephemeral upper-class dreaming, nightmare material or vainglorious gesture.
Marisa is a modernist romantic tragedy, which tips its hat to Wyndham Lewis, Henry James, Edith Wharton, Henri Bergson and others. Yet Cowlam's novel has more to offer than this. It explores a broad range of intellectual themes, such as the psychological dynamic of left-wing and right-wing politics and their relation to art, male and female conceptions of love, our intuitive conceptions of time and the tragic nature of humour.
Its rhetorically understated quality is developed on an unbridgeable gulf that is not defined by overt cultural boundaries or moral 'sin' – it is more peculiar, more esoterically haunting than that. After all, Marisa and Bruce share much of the same cultural context, even though their values appear to differ more widely as the drama progresses.
There is a subtlety to Bruce's despair, since he longs for the intoxication of a powerful artistic effect, able to deliver the message he secretly longs for: that 'the social mores we take for granted every day' might give us less than the full serve demanded of our human desires in the world. This intoxication is not to be imbibed in the form of seemingly lowbrow student confections, however. Form is not only as important as function – it is the fundamental key for Bruce, aiding him in determining his class calling on the basis of certain straightforward and external social signs. Therefore, it must be via his own elitist social circle that the artistic message can reach him, one by which the 'whole cosy notion of what civilisation is, is undermined.'
Yet, the ironic tragedy is that the corporate class to whom he owes his loyalty cannot deliver the level of passion and truth he craves. The only one who can do that is Marisa, and she belongs to a tribe not of fact-based, hard-headed financiers, but of artists. Bruce appears to represent form in search of content, whereas Marisa, his love interest, ever eluding his knowledge and control, is unable to show him her substantial, if aesthetically and psychologically murky content (from Bruce's perspective at least).
The narrative of recollection is in the form of Bruce's reminiscence. Through his darkened lens, Marisa appears in various manifestations – a ghostly figure ministering to his needs, or a highly abstractive and impractical person, unable to convey her intended artistic and personal meanings. Whereas the reader suspects that Marisa's character is in itself deep and complex, we know what she aspires to only via Bruce's selective memories, his eye for her liberal left tendencies often patently and openly jaundiced.
On Bruce's part, such perceptual bias is the formula of failure to engage. This appears to lead (and it's only his perspective we know) to events of a sadistic or masochistic nature. As Bruce becomes the domineering inheritor, and manipulator, of patriarchal power and finances, Marisa engages in a masochistic act, not entirely distinguishable in form from the contemporary feminist statement of Annabel Chong. Furthermore, this might have been judged to spite Bruce, not just as an enactment of 'feminist' artistic statement. What can this and other feminist performance mean for women? This is one of the subtle questions indirectly raised in the novel.
There is subtlety in the plot, so that we're unsure of what exactly is taking place, psychologically, with Marisa and with Bruce. The dynamic that resonates most strikingly is that of British class social inflections of meaning and differing value systems. The plot's development is adeptly marked by Bruce's realisation of loss throughout the narrative's latter part.
Aesthetically, the novel is completed by Bruce's desperate effort to recall the detail of his life with Marisa a long time ago, to recapture and retain a vestige of living passion. Indeed, most of Bruce's ill-fated attempts to repossess the essence of Marisa is represented in his act of collecting: thus it is that Bruce peruses the memoirs he has stockpiled from Marisa's life, still perhaps not understanding some of the intentions underlying her artistic endeavours. The gender dichotomy is delicately represented: it is one of an objectifying male collector of Marisa-
memoirs alongside an ephemeral and subjectively simplified potential 'collectee', reminiscent of John Fowles' intriguing and gender-archetypical depiction of Clegg and Miranda in his novel The Collector.
There is a dry sardonic tone to Cowlam's Marisa. A soft sense of mirth flows through the narrative, as
we learn to see how the eye that seems to see all, also fails to see aspects of meaning relevant to his intimate
interests. We are treated to an education concerning what it might be like to see the world through the eyes of an upper-middle-class Englishman. Readers will experience his repressed way of looking at the world, his reflexive dismissive propensities, his regularly intelligent but overdrawn artistic flourishes (a function of his self-appointed semi-aristocratic role as arbiter of taste) and yet often classically imbued turn of phrase, his interest in the material quality of good nourishment, preferably imbibed within tasteful interiors boasting thoughtfully chosen furnishings as well as his paradoxical interest in mysterious, elusive (because passionate) modern forms of art.
Bruce has everything a British rising middle-class individual could ask for. Yet something tragic happened to him at a crucial point at approximately the middle of the book, where his élan vital undergoes a transformation for the worst. Nobody knows it – except finally perhaps Bruce himself. Whereas mechanistic, linear time appears to go on as before, and his son, Bruce Three, is born, and so continues the line of Bruces, Bruce's own intuition of time has radically changed. Worse, he now knows something he didn't know before, which he wishes he hadn't apprehended: that ghosts and murky lures of the imagination can no longer simply pass for fanciful left-wing tropes, but are finally to be taken as…something all too real.
Malcolm Sterne
…an extraordinarily mature and assured story. The narrative moves at a gentle pace, but carries the reader into an intricate psychological and profound journey that has similarities with early Hermann Hesse…
Malcolm Stern, author Falling in Love/Staying in Love (Piatkus).
Soldier's Gap is a non-traditional mystery with literary elements. The high school principal is brutally murdered, but Deputy Sheriff Dave Jenkins's search for meaning and love is a much more significant theme.
"Murder isn't usually this fun
London: Lashed, Lacerated, Lampooned and Lambasted satirizes 18 popular Jack London novellas with adult content and language and the work is author Jay Dubya's 37th published hardcover/paperback book.