I wasn’t expecting to have any connections to The Grass Arena.
It was only around page 160 that I realised Healy's grass arena was my, and my childhood friends, den in Euston Square Gardens. One of the stone pavilion’s terraces was then thick with shrubbery but is now a seating area for the pavilion's cappuccino kiosk. It overlooked the grassy area that would undoubtedly have been like an arena for the winos, who are now evicted and unseen from those sipping cappuccinos with biscotti. Back then, we'd sewed regimental shoulder insignia onto our denim bomber jackets, pinned pips to our shoulders (bought from the army surplus shop beneath St Pancras Station forecourt), and lobbed small stones on those below.
Doing a bit of basic math, I reckon we were there at the same time as Healy. How extraordinary.
Harry Roberts! Do you remember him? Healy mentions he was on the run. It was a hot topic, an infamous story, a notorious police killer. I hadn't thought about Harry Roberts for over 50 years. Back then, for the space of a few weeks, nobody talked about anything else; he was in the papers, the news, his mugshot on wanted posters. For a seven-year-old, he was the bogeyman who would come and get me if I didn’t go straight to bed.
Finally, Healy’s fellow wino falls under a train from a platform in the Angel Underground. At the time, I lived at the Angel Islington, when the northbound and southbound platforms of the station were in the same tunnel with a single narrow platform in the middle. Even sober it felt like walking a tightrope.
Nostalgia.
Enough!
I found Healy's early childhood, the time when he went to rural Ireland to visit relatives, and even his army days a good start. Bucolicism and nostalgia met head-on with urban brutality. But during his wino days, Healy's writing is like a stand-up comedian performing his material in rapidly delivered one-liners, and there are a lot of them. They’re mostly unconnected and extremely brief reminiscences. Rather than telling a coherent story, they are a series of similar, pithy anecdotes with the common theme of drinking and violence. New characters arrive with alarming frequency with no introduction. It's like a butterfly frenetically flitting from one anecdote to another without respite to take nectar, or in this case for Healy to take a plaudit. Because, nearly all these anecdotes are interesting but after a sentence or two, we are off onto another one, and another, etc., etc., etc…
Writing in this way Healy offers us cold facts at face value, there's no evaluation or thought behind what's happening. Because there's little introspection and understanding of deeper emotions and issues it appears there's not a lot of humanity to Healy's writing, especially during his wino days. It's left for us to feel aggrieved at the injustice of it all; Healy simply puts the evidence before us. Nearly all the sentences are pared down to the minimum: they’re so punchy, shocking, or glib, that they might stand alone in their own right. Like a series of slogans or a sentence on a book cover that teases a potential buyer. He never sits back, ponders, ruminates, or considers. As such, the speed of the narration is breathless and has a brevity that gets monotonous. Healy dangles short sharp sentences to amuse, shock or disgust as though he might have thought this was all he had to do. This staccato delivery could be effective but comprising most of the book it needed some equal moments of reflection. Since this was his first book it may have been a callowness, but especially at the end when Healy discusses chess and India, it becomes a comfortable, enjoyable read. Comfortable in the sense of the story being well-structured with rounded prose.
I liked the way his addiction to drink left Healy’s life so abruptly, supplanted by chess, a far less dangerous obsession. Also, his visit to India was told with uncharacteristic charm and repose. In these two narratives and his childhood years, the days in Ireland and the army, there are poignant reflections but still never any true depth of thought. A deep psychological analysis is unnecessary, but I wanted to know what was going on in his mind, for he must have often questioned himself and his desolation: his sentiments, his underlying hopes and fears, his frustrations and anger. Not only were there opportunities in these narratives but more so in the grass arena part of the book where it would have added a much-needed texture to the prose, and a varied pace to the writing.
In the end, this is a worthy first book though its intensity, slightly mishandled, doesn't make it a great memoir or strictly speaking a classic. And though there’s an upbeat ending one still senses that Healy carries a sadness with him. It appeared he lost the capacity for making friendships and experiencing love at a young age, especially later on with the inconvenience of his addiction. Chess and writing were possible palliatives to his drunkenness and violence. They gave him the opportunity to maybe feel he was fighting back against his abusive father and allowed him to draw the veil of alcoholism to one side; though one senses he stepped through it with all the limitations he’d always had.
The book begged to be published for as Colin MacCabe says in the after-forward it's a world we knew existed but thought it existed in isolation from us. In a sense, it is a parallel world that nonetheless touches ours briefly through murder, violence, and robbery; and to think we believed it a low-risk sedentary life that would slowly fade towards death.
The greatest benefit Healy gained might have been its cathartic quality. This Penguin Modern Classic republished the first edition that was prematurely pulled from print by the piqued boss of the publishing house. Characteristically Healy had said what he’d thought about him.
I would like to see the film and the documentary 'Barbaric Genius'. It appears his output, and also his private life since The Grass Arena is modest.