Less by Andrew Sean Greer

Quite a while ago I was asking Twitter what recommendations I could get for funny, well-written, modern fiction. All the modern fiction I read – which is admittedly not much – seems to be quite serious. So I wanted the twenty-first-century equivalent of all those twentieth-century writers who knew how to be funny AND turn their hand to prose.

One of the suggestions that came up more than once was Less (2017) by Andrew Sean Greer, which has the added distinction of having won the Pulitzer Prize. My friend Tom even lent me his copy – and, even better, it turned out to be a surprise entry for Project Names, where I’m reading lots of books with people’s names in the title. Because our main character is one Arthur Less. I never worked out if this was intended to sound like half-or-less, or if it would require a very particular English accent to get that from it.

As it satirised at one point in the novel, Less is a middle-class, middle-aged white man with sorrows. Though undoubtedly living a privileged existence, he is definitely on the unhappy side of things. His writing career is rather lacklustre (“too old to be fresh and too young to be rediscovered, one who never sits next to anyone on a plane who has heard of his books”), he is single, and as the novel opens he is (a) not recognised by the person organising a sci-fi event he is supposed to chair, and (b) receives a wedding invitation from an ex-boyfriend. In order to avoid the wedding and the unacknowledged feelings it would bring, Less decides to accept all the author engagements that he usually ignores. Wherever they are in the world.

As luck would have it, they all neatly line up and take him across the globe. But he is usually not wanted for his own work, but because – in his youth – he was the lover of a revered, older poet. That seems to have secured whatever reputation he does have.

Usually I find this sort of structure to a novel quite annoying – where it’s just a series of events, without a central momentum or the same set of characters to engage with. I don’t know how Greer makes it so compelling, but he certainly does. I thought Less was very good indeed – and, yes, very funny. Part of that humour came from more orchestrated humour, like Less’s belief that he speaks good German (cleverly rendered in an English translation); a lot is a gentle ongoing satire of the life of a very self-conscious, not very happy writer. Even where he is revered, he realises it is because his translator is an excellent writer. He is simply a mediocre man not quite able to accept that mediocrity – for who, after all, accepts their mediocrity.

And despite this, Less is not the butt of all the jokes by any means. The reader becomes very fond of him. I wouldn’t say I was desperate for a happy ending, but I certainly sympathised with him – Greer has the impressive gift of writing warmly about a character without writing dishonestly about him. I don’t know how much is a self-portrait, other than Greer is, like Less, also a gay writer nearing 50 who hadn’t previously had enormous success with his novels.

The things that happen in the different countries, and the transitory other characters who pop up, don’t feel as important as this central portrait. Indeed, I only finished the novel recently and I can’t remember much of the plot. But I do remember the commitment to a character and a lightly satirical style that must have been very difficult to pull off – and I can see why the Pulitzer Prize would want to reward this sort of assured writing.