For cost savings, you can change your plan at any time online in the “Settings & Account” section. If you’d like to retain your premium access and save 20%, you can opt to pay annually at the end of the trial. The thing about the cinema, in Brian’s experience, seated in a large dark space staring without interruption at a high wide screen, entranced, lost in another’s vision, was that he found feelings inside himself he did not know existed, replaced the next night by a different film and new sensations. And the next. Another film, another set of feelings. Jeremy Cooper’s work is consistently haunting and layered, built on a refreshing trust in the reader to delve deeper behind the quiet insinuations of his prose. His work resists every modern accelerant, creating a patient and precise tonic. He is easily one of the most thoughtful British fiction writers working today.’ This morning I woke up to terror such as I have never experienced before: I was entirely stripped of feeling. I was completely empty, without pain, without pleasure, without longing, without love, without warmth and friendship, without anger, without hate. Nothing, nothing was there anymore, leaving me like a suit of armour with no knight inside.

Brian by Jeremy Cooper — solace in cinema in London - Financial Times Brian by Jeremy Cooper — solace in cinema in London - Financial

This is the 60th of the blue-covered fiction titles from Fitzcarraldo Editions, all of which I've read and reviewed, but it sadly confirmed my hypothesis: their taste and mine in Anglophone male writers simply doesn't overlap.

With an effort he managed to clear his head of unwanted family memories and continued on into Kentish Town Road. Cooper has maximised the potential of this literary convention to achieve a work of great depth and quiet power. Over three decades, a mother and her artist daughter communicate only by letters, excavating their relationship as it evolves with melancholic, astute precision. At times spellbinding and mesmerising, the work also proves provocative and inspirational. As much a love letter to the lost art of letter-writing as it is a thirty year-long dialogue of familial love, Cooper has produced an understated book that nonetheless resonates powerfully. This book is deeply sensitive to the ebb and flow of relationships over time and the way love is disguised, expressed and experienced, and it achieves that elusive dream of all authors and finds new meaning in the recording of life.’

Brian by Jeremy Cooper | Waterstones Brian by Jeremy Cooper | Waterstones

It was excellent, not in the least bit disappointing, stuffed with tenderness and vengeance. Eastwood, who directed as well as starred, spent much of the film in the saddle and for this feat of skill and endurance promptly became Brian’s movie idol. For other reasons too: the lyricism of the Texan landscape through which Josey Wales pursued without mercy the Unionist guerrillas, killers of his wife and children; and for the depiction of peasant farmers of Missouri as people with hopes and pain.

You may also opt to downgrade to Standard Digital, a robust journalistic offering that fulfils many user’s needs. Compare Standard and Premium Digital here. We do gradually get hints of a very troubled childhood which Brian wishes to forget, his estranged father a bigoted unionist and his, now deceased, mother having spent his early years in prison, Brian placed in an orphanage, for facilitating UVF terrorism.

Brian by Jeremy Cooper The quiet joy of a deep interest: Brian by Jeremy Cooper

At Talacre one weekend a woman had walked over to Brian’s bench and introduced herself as Dorothy, Camden Council’s manager of the playground. She had noticed the gentle way he had been playing with the children on and off all summer and, being short of staff at weekends, she wondered if he might agree to keep volunteer-watch over the facility for a fixed couple of hours on Sunday mornings. The thought of community participation, of acceptance within a worthwhile group of local people delighted Brian and when, as it always seemed to, everything fell apart he felt especially hurt. Two mothers had complained about his unqualified status and, with regret, Dorothy asked him not to come again. For his own sake she suggested it might be safest if he did not visit the gardens at all for the time being, as his accusers were a vindictive pair, Dorothy warned.A study in how writing can give lives meaning, and in how it can fail to be enough to keep one afloat, this is a rare, delicate book, teeming with the stuff of real life.’ Walking slowly home, Brian thought of his own brother, Peter, nine years his senior, with whom he was unable to remember ever laughing. They barely knew each other, had never lived in the same house. Brian stopped suddenly in the street, muttering to himself, and stamped on the pavement several times one foot after the other, furious that playing with those two nice boys had awakened images of Peter and his father and their treatment of his mother. But this book just didn't work for me. It felt more like reading a never ending cinema programme than a novel. But there's no explanation about any of the films, just the briefest of nods towards them. So even though I'd seen dozens of the films in the book and could often decipher what the author was alluding to, even that didn't really help. God forbid you've not got an encyclopaedic knowledge of cinema.

Brian by Jeremy Cooper | Goodreads Brian by Jeremy Cooper | Goodreads

Brian aims to be seen as “true” in two divergent ways, in the convincing depiction of an obsessive central character and in acceptable portrayal of actual films and other public events. The novel assumes overlapping areas of unity between fact and fiction, for even in the driest documentary re-telling of an historical episode choices are made—in the language of description, in what to leave out, in presentational design, and as to which external experts to trust on disputed issues. There is inevitably an element of fiction in all factual writing, because the taste and judgement of an individual has informed its composition. In reverse, almost all fiction has a factual core, colored by the life of its writer, by the people they have come across, and by the underlying emotional tenor of the author’s interests. Whether by intention or not, a novel in part documents its writer, at times with the deliberate contradiction of openness versus restraint and verbal shimmer against solid realism. The titular character is an office worker who lives a cautious existence, until, after a long process of thought, becomes a BFI member. Slowly he starts to become enamoured by cinema and the book documents his progress from the 90’s all the way to the present day. The book is at its strongest in portraying the comeradeship, if not really relationship, Brian enjoys with his fellow buffs, many of them socially unconventional, and indeed Brian looks down on some of them in the same way that Beavis has contempt for Butthead. This type of book can work on many levels: on one it’s a look at how film and the film buff have evolved: from attending cinemas to streaming, plus the availability of global culture became more accessible by the 2010’s and so a wider variety of films were being screened with the technology to clean them up as well.For several years he had promised himself he would become a member at the BFI, failing to do so for no reason other than the trepidation he generally felt about doing anything new. The Talacre Gardens fiasco impelled urgent action and after a visit to the watch-repairer in The Cut on a Saturday afternoon not long after seeing The Outlaw Josey Wales, Brian grasped the moment, walked on over to the South Bank and filled in the inexpensive BFI membership form. He felt a rush of rightness as he placed a copy of the month’s programme in his bag to study at home. From then on, he booked in for a screening at least every couple of weeks, berating himself for not having done so sooner. As have the two previous novels from Jeremy Cooper, Ash Before Oak and Bolt from the Blue, which contained a lot of nature and modern art respectively but which failed, unlike works from authors such as Sara Baume and the hybrid art/novel works that are a trademark of Les Fugitives, to draw this reader in and makes me want to seek out the things referenced. And Brian does the same, or rather fails to do the same, with film. Change the plan you will roll onto at any time during your trial by visiting the “Settings & Account” section. What happens at the end of my trial? This novel achieves a great deal with its close insistence on the dignity of a quiet life invigorated by the most defamiliarising art form of them all.’ After having published his luminous Ash Before Oak, Jeremy Cooper now brings us Brian, equally a work of mysterious interiority and poetry. It confirms that however solitary life might be, art enriches both our imaginations and our realities. This is a very tender book.’