This is my review of Vernon Subutex Tome or Volume 1 by Virginie Despentes – read in French, but also available translated into English.
Vernon’s odd surname Subutex is also a medication used for treatment of drug addiction, which indicates the tone of this novel. The former manager of a popular Parisian record store in the heyday of punk, forty-something Vernon has fallen on hard times in the face of competition from digital streaming. On hearing of the suicide of singer Alex Bleach, who has paid his rent for the last couple of years, Vernon’s first reaction is to wonder how he will manage when the bailiffs arrive. His only solution is to sponge off a succession of former friends and lovers, sinking rapidly into life on the street. Self-centred and weak-willed, he retains much of his old charm and power of attraction, appears quite perceptive and resourceful when sober and drug-free, but seems to be going through a kind of mid-life crisis. What may save him in the end is that news has spread of his possession of recorded monologues produced by Alex Bleach, which have gained extra commercial value from his recent death.
The first in a trilogy, this book has won many awards in France, been shortlisted for the Man Booker International Prize and made into a television series. It has been praised in glowing terms by critics as a “formidable” portrayal of “contemporary French society”. I cannot agree, since it seems to be mired in a narrow, sordid urban world of foul-mouthed promiscuity, cocaine-addiction, drunkenness, materialism, fascism and violence. A strong thread of prostitution and topical transgender sex runs through it, hardly surprising in view of the author’s previous life as a sex-worker and the themes of her early writing triggered by the experience of rape.
The flimsy plot serves as a vehicle for a series of disjointed portraits of mainly dysfunctional or unorthodox individuals, some of whom seem to play only a passing role, although they may reappear in Parts 2 or 3. Perhaps because the end was in sight, I found some of the later characters more authentic and well-drawn, even to the extent of evoking sympathy: Patrice, the wife-beater who can neither control his emotions nor express true remorse for the violence which has driven away the woman and two children he loves; Sophie, who has been driven a little mad by the death through an overdose of her elder son, a long-term addict for reasons she cannot comprehend.
There is a good deal of stereotyping and cliché in this novel, and I often found the female characters less fully developed and convincing, not counting their ludicrous names (La Hyène, Lydia Bazooka, Vodka Satana, and so on). I found it hard to credit that ex-porn star Deborah would decide, it would seem on a whim, to transition into Daniel, with so little effort or distress, and then be so successful in “mixing with the boys” and having heterosexual girlfriends.
I struggled through this for my French book group, by turns depressed, irritated and bored. The characters have a tendency to indulge in quite entertaining, exaggerated rants, there are some useful idioms buried in all the oppressive obscenity, but having reached the rushed and unresolved ending, clearly intended to make one read Part 2, I do not feel inclined to find out what happens to Vernon.
Privileged with their musical, poetical language, the French seem to delight in “slumming it” with over-rated imitations of the truly great, boundary-crossing, no holds barred novels which somehow “work” much better in English. I happen to be reading Philip Roth’s “The Human Stain” at the same time, which really is “magistral et fulgurant, Une œuvre d’art. Une formidable cartographie de la société américaine” des 1990