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It's A Guy Thing.
By Zachary Woodruff
About A Boy, by Nick Hornby (Riverhead/Penguin Books).
Cloth, $22.95.
THIS WEEK'S WINNER for the most obvious fictional character
name goes to Will Freeman, the protagonist of Nick Hornby's About
A Boy. A superficial, jobless, early-'30s fellow who lives
from half-hour to half-hour with no emotional ties to restrict
him, Will values his ability to make decisions based solely on
his own immediate impulses. It's Will's will, dammit, and nobody
had better tell Freeman he can't be free, man.
Thankfully, the rest of Hornby's book isn't nearly as obnoxiously
clever. Oh, it has its moments, like when Will starts attending
SPAT groups (that's Single Parents--Alone Together) so he can
pick up on single mothers, whom he discovers are even easier to
bed and dump than swinging bachelorettes. Or when the son of one
of those women catches on to Will's scheme, and uses this knowledge
to blackmail Will into becoming his father figure (thus forming
the basis for the book's story). But mostly, About A Boy
is a pleasant, satisfying read, the kind that touches sentimental
nerves even as it struggles to be cool.
Hornby's debut novel, High Fidelity, was a compelling
yet somewhat trite look into one man's pathetic state of mind--pretty
much a '90s version of Bright Lights, Big City, with ex-girlfriends
instead of cocaine. The main character, an underground record-store
geek who relates all his emotions to albums by obscure rock bands,
feels the need to track down all 10 of his generation-exes before
taking the plunge with his current non-X. The book was the epitome
of '90s hip, mixing equal parts depression, grunge-era disaffection,
and vinyl-fetish nostalgia.
With About A Boy, it's as if Hornby had acquired a girlfriend
and some Prozac since his last outing. Hornby's prose is much
happier than before (even while it keeps hitting the hip, cynical
notes); and the fixation on girlfriends past and present is gone,
gone, gone--women play prominent roles in the novel, but aren't
a major concern for the main character. Instead, the story centers
on the relationship between Will and Marcus, the previously mentioned
son of one of the SPAT mothers.
Basically, Marcus adopts Will. Marcus' mother, Fiona, is an uptight
hippie vegetarian who won't let Marcus indulge in any of society's
frivolities because she believes in total non-conformity. As a
result, Marcus is an extremely awkward 12-year-old. He dresses
like hell (or as Hornby, a Brit, would say, he wears "really
crap" clothes). He doesn't understand sarcasm. And the kids
at his new London school harass him on a daily basis. What's worse,
Fiona is on the verge of suicide, constantly breaking into bouts
of sobbing for no apparent reason. Between school and home, Marcus
is miserable.
So even though Will couldn't be farther from an ideal father-figure,
Marcus decides to turn him into one. Actually, it's precisely
because Will is such a childish man that he's the ideal
friend for Marcus, who is growing up too fast and needs to learn
how to be a 12-year-old. And Will is the perfect teacher: He shows
Marcus how to dress like everybody else, how to let out a sardonic
"ha ha" to prime I-couldn't-care-less effect, and even
how to listen to Nirvana (a stark contrast from the Joni Mitchell
albums Marcus' mother force-feeds him). Here we have another instance
of Hornby's cleverness: The title, About A Boy, may actually
be about Will the child-man, not Marcus the too-mature kid.
One of the best aspects of About A Boy is its continuous
refusal to head off in sappy directions. There are plenty of opportunities
for Hornby to hook Will up with Marcus' mother, or to involve
Marcus in a teenage romance (with a rebellious, butt-kicking Gothy
chick), or kill off characters to get melodramatic. Hornby resists
all those temptations, opting for the dry ins-and-outs of day-to-day
existence, where things are rarely tied up neatly. He never tries
for profound meanings--like Will, he seems embarrassed by the
whole enterprise--but he really nails the smaller observations.
About A Boy is more self-consciously smart than it is brilliant,
but that's all it needs in order to be entertaining and wryly
sweet.
Throughout, Hornby communicates via loose, casual prose--the
kind that allows him to blame the sloppiest of metaphors on the
meandering thought-processes of his protagonist. That Hornby finds
such a stable balance between cooler-than-thou disaffection and
underlying sentimentalism is both good and bad. It's good because
it's such an enjoyable read, but it's bad because the book doesn't
leave you with much to remember after you've finished. It's like
a surprisingly good TV-movie-of-the-week: It's full of little
people and little events, but at least it's well told.
As a novelist, Hornby is already at a difficult crossroads. His
career started auspiciously, and he was hailed as some sort of
arbiter of '90s pop culture (especially with regard to the wonderful
world of vinyl retro). Now that he's attempting less time-flavored
storytelling, Hornby risks losing his edge. But fans of High
Fidelity shouldn't be too disappointed: The entire climax of
About A Boy revolves around a character's reaction to the
death of Kurt Cobain. You won't see that on TV.
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