B.S. Johnson – författare

House Mother Normal, subtitled “A Geriatric Comedy,” is the English writer B. S. Johnson’s fifth novel. Unusual in both its subject and structure, this novel is a remarkable study of old age, stripped of sentimentality and spiked with bizarre language and perceptions. Made up of eight monologues describing a single day at a nursing home, House Mother Normal explores the failing minds of the elderly with precision, humor, and unflagging compassion, and Johnson achieves, with inventiveness and escalating absurdity, a vivid multidimensional effect.

Christie Malry is a simple person. Born into a family without money, he realised early along in the game that the best way to come by money was to place himself next to it. So he took a job as a very junior bank clerk in a very stuffy bank. It was at the bank that Christie discovered the principles of double-entry book keeping, from which he evolved his Great Idea. For every offence Christy henceforth received at the hands of a society with which he was clearly out of step, a debit must be noted; after which, society would have to be paid back appropriately, so that the paper credit would accrue to Christy's account. Now made into a film starring Nick Moran of Lock, Stock and Two Smoking Barrels fame. Acerbic yet funny, this is a novel which, even as it provokes laughter, will alarm and disturb as well.

Why don’t you take a permanent job, Albert? You’re twenty-eight now, you know,” his mother remarks when he goes on his weekend duty visit home. Albert Angelo is by vocation an architect and only by economic necessity working as a substitute teacher. He had thought he was, if not dedicated, at least competent. But now, on temporary assignments in schools located in the tough neighborhoods of London, Albert feels ineffectual. He is failing as a teacher and failing to fulfill himself as an architect. And then, too, he is pained by the memory of a failed love affair. “I’m trying to say something not tell a story telling stories is telling lies and I want to tell the truth,” Johnson insists in the penultimate section of the book when his authorial voice intervenes. Or, as Johan Thielman writes in The Review of Contemporary Fiction, “Johnson is trying to use fiction to reproduce life as closely as possible and, in his inevitable failure to succeed, he extends our notion of the possibilities of the novel…he made a body of work which remains fascinating, not in the least because he achieved one of his main ambitions: to be totally honest…His novels are the moving traces of a passionate devotion to and pursuit of his truth.”