Sometimes we get caught up in hype and say things like Any Human Heart is ‘unforgettable’. But I’d forgotten I’d already read this book. There was something vaguely familiar about The Intimate Journals of Logan Mountstuart (LMS) 1906-1991 when the reader is told he dies of a heart attack and on his tombstone has chiselled Escritor, Writer, Ecrivain.
It’s the bit in between those two dates that interest us and LMS has a Zelig like ability to span continents and mix with all the great writers and artists of the day, for example, Virginia Woolf and the Bloomsbury group in London. He kisses Evelyn Waugh at an Oxford soiree. The latter grabs his groin, but LMS might have been like Waugh, a former public school boy but now decidedly is practicing heterosexual sex with his best friend’s girlfriend. He meets F. Scott Fitzgerald, Joyce and Hemingway in Paris and, later, the exiled American during the Spanish Civil War.
Picasso gives LMS a sketch, which he later sells to make good the final days of his former lover that was there on the page with him. He hobnobs with royalty and shows how spiteful, treacherous and miserly the Duke of Westminster and Mrs Simpson really were (as expected).
LMS was an art dealer in New York when the avant-garde painters were selling canvases for crazy money and poets such as Frank O’Hara were emerging, with bitterness and wit and not enough money.
LMS married for the third and last time in New York. The entry for June 1957 has him meeting with his psychiatrist Byrne and he asked:
what persuasion he was – Freudian, Jungian, Reichian, whatever. None of the above, he said. I’m basically a good old-fashioned S&M man. S&M? Sex and Money. He explained: in his experience, if you were not clinically ill – like a schizophrenic or a manic depressive – then 99 per cent of his patients’ neuroses were generated by either sex or money, or both.
LMS proves the case in point, fleeing New York for his London flat after having sex with, ‘Monday,’ a sixteen or seventeen-year-old minor who passed herself off as being his dead son’s grieving girlfriend and aged 19 or 20, one of which proved to be true enough for a statutory rape charge.
LMS saw man walking on the moon, he poetically stepped outside to look rather than watching it on television and got involved as reporter in the Biafran War.
And surreally he found himself involved and carrying sticks of dynamite in a suitcase filled with old clothes for the Baader-Meinhoff gang. These are the bits of the book I remembered, finally.
The wisdom of the fictional man is on the page, a remembrance of reader to reader or writer to writer. After fleeing Britain after Thatcher is elected (foreseeing the offering up of the poor to the rich) he flees to the French countryside to squeeze in one more doomed love and offers a guide to style and life while trying to write a work of fiction, Octet. The entry between 1986-1988:
Reading Nabokov’s Ada, an intermittently brilliant but baffling book – an idee fixe on the rampage, leaving readers stunned and exhausted behind. I have to say as an admirer of style – a loaded word, but actually best thought of as a synonym for individuality – VN’s mannered artfulness, his refusal to let a sleeping word lie, becomes more and more like a nervous tic, than a natural, individual voice, however fruity and sonorous. The studied opulence, the ornament for the sake of ornament, grows wearing, and one longs for a simple, elegant discursive sentence. This is the key difference: in good prose precision must always triumph over decoration.
LMS’s journal in Any Human Heart achieves that individuality, that style and the voice is one you believe in. As an avid reader (with a poor memory) William Boyd is indeed a great artist. Let’s not forget that there is nothing baffling about this book but its brilliance.