Go Back at Once

by Robert Aickman, R.B. Russell (Introduction)

Go Back at Once, completed by Robert Aickman in 1975, is a previously unpublished novel set in the 1920s, telling the story of two young Englishwomen. It is in many ways a very personal fantasy for Aickman, reflecting his agreement with Shelley that poets are the unacknowledged legislators of mankind and Nietzsche's belief that "art alone could hold the key to human life in the future." A fascinating and very readable glimpse into the mind of an always intriguing writer.

Genres: Fiction, Horror, Literature

362 pages, Hardcover

Published November 1, 2020

About the author

Author of: close to 50 "strange stories" in the weird-tale and ghost-story traditions, two novels (The Late Breakfasters and The Model), two volumes of memoir (The Attempted Rescue and The River Runs Uphill), and two books on the canals of England (Know Your Waterways and The Story of Our Inland Waterways).

Co-founder and longtime president of the Inland Waterways Association, an organization that in the middle of the 20th century restored a great part of England's deteriorating system of canals, now a major draw for recreation nationally and for tourism internationally.

Grandson of author Richard Marsh.

Reviews

[Richard Derus · Rating 4 out of 5]

Real Rating: 3.75* of five, rounded up

I RECEIVED A DRC FROM THE PUBLISHER VIA EDELWEISS+. THANK YOU.

My Review: I'm quite sure a lot of people will not like this book very much.

Sad, but inevitable; Aickman's work, when outside the unsettling norm of it, is quite an ask. You're going to meet Types, not characters, ones whose existence is actual, but susceptible to change in the century since the story...here based on the Free State of Fiume...is set. There are the expected players, if you've been reading British literature a long time, or are enamored of E.F. Benson or Ronald Firbank. There are the stock situations, eg the defended virtue of one of the leads. There is a tone of facetious, in fact malicious, judgment of those who express any notion of Idealism or Utopian thought.

Am I putting you off? I don't mean to; I want, though, there to be no misunderstanding about the book you're going to read: This is not ghost-story unease-inducing Aickman; this is sharply observant, unsparingly opinionated Aickman. It's not like we don't see this Aickman in his other works (or in his life, just read about how viciously he treated his co-founder of the Inland Waterways Association!); but this novel, centered on Cressida and Vivien as they leave school and move in with Vivienne's Aunt Agnes the free-spirited divorcée, shoves the mean-girl pedal to the floor.

The bitchiness of Aickman's observations is *epic* and unsparing and unerring. His trademark ambiguity is largely absent, in that he's unambiguously making the most savage sport of the people on these pages. It does become rather one-note as time passes in their company. If that note is to one's taste, that's all right. If it isn't, stop reading immediately because it won't change.

I was deeply enmeshed in this story despite its waspish tone. I am, perhaps, a touch on the waspish side, so I empathized with Aickman's desire to bat away the cigarette smoke of Fame and Adulation that surround those whose life-choices make no sense seen face-on. The Great Revolutionaries whose Ideas are Noble, but whose grasp of governance and finance is wanting, are a dime a dozen. D'Annunzio, whose life makes excellent reading, clearly fell into that category. (Though I think the judgment of modern people that he's a stalking goat for fascism is a great deal too harsh.) His treatment here, at the very end of the story, was hilarious if savage. No less savage was Aickman's invented future for Vivien and Cressida, whose identities I am not familiar enough with the literati of the period to tease out...though I hoped for Ivy Compton-Burnett and that Jourdain woman, they're entirely too old...a descent into what was a marriage in all but name, without a single sexual suggestion being made by the author.

Given his own repressed gayness, that can't come as a surprise. Merely being married to a woman (called "Ray" for heavens' sake!) for seventeen years didn't prevent him from being (discreetly!) known to have had liaisons with like-minded men. It was the way of that world, that time. It shows up in this story with lots of queer-coding, the way "foreign" people simply appear naked or are...touchy-feely, shall we say. Given that he died in 1981, one would've thought he'd've made a bit better peace with his gayness; this, however, did not occur. I suspect that he'd be a closet case even had he been born in 1964 not 1914. Some people just are.

One of the great pleasures of this kind of story is its structure. It reminded me a great deal of Candide, shorter journeys but just as much to-in and fro-ing where we are. There's also a lot of wetness, dunkings in the sea, raining, all the cold, clammy feels that brings up; lots of clothes-being-changed, shared, in general a sense of the instability of each character's presentation of self that Voltaire gloried in. Also Candidely is the sexual innocence of the young leads, their almost preternatural resistance to (and embattled saving of in one case) losing their innocent insensitivity to the Charybdis-level undercurrents flowing around them.

It won't be for everyone, but those it's for will batten upon its high-calorie low-nutrition richness.

[Alwynne · Rating 3 out of 5]

A truly bizarre variation on a coming-of-age tale, Robert Aickman’s long-neglected novel, unpublished in his lifetime, opens in post-WW1 England. It centres on Cressida Hazeborough who, together with former schoolfriend Vivien, sets out to dodge convention and the prospect of a dull future. They head for London, lodging with Vivien’s aristocratic aunt, where Cressida takes a job in a flower shop and Vivien becomes a psychoanalyst’s secretary. Aickman was once referred to as an eldritch Barbara Pym, and although the eldritch takes a back seat here, there are copious traces of Pym in his narrative’s early stages, along with more than a dash of Nancy Mitford and Evelyn Waugh. There’s a wonderfully acid wit pervading these opening sections, packed with pithy one-liners and droll commentary, and some memorable, slightly unsettling, scenes of London’s moribund high society, broken up by Cressida’s lengthy accounts of her disturbing dreams. But then the mood and style abruptly shifts. Through a series of coincidences, Cressida and Vivien end up in Trino, a revolutionary state ruled over by the charismatic Virgilio Vittore. Trino’s a fictionalised version of poet and artist Gabriele D’Annunzio’s short-lived, post-WW1, Free State of Fiume (now part of Croatia), an anarchic community that became a haven for eccentrics, artists, freethinkers and even the occasional pirate. D’Annunzio’s approach, his use of props, his aesthetics and daily speeches from his high balcony, later influenced Mussolini’s brand of fascist showmanship.

Aickman’s Trino reproduces the hallmarks of D’Annunzio’s Fiume but exaggerated for would-be, satirical effect. Once Cressida, a classic innocent abroad, arrives in Trino, Aickman’s prose and plot becomes increasingly operatic in flavour, brimming over with Shakespearian excess, and increasingly absurd situations. It’s a bold departure, likely to puzzle fans of the “strange stories” Aickman’s now known for. Unfortunately, for me at least, it’s far too bold, horribly messy, annoyingly extravagant and slightly incoherent. I was slightly worried, given Aickman’s reputation as a reactionary, that his Trino might in some way endorse Fiume’s proto-fascist elements, that wasn’t the case, or at least I don’t think it was. Honestly, I’m not entirely sure what Aickman was trying to achieve with this awkward, oddity of a morality tale, though there are some striking passages half-buried in the morass of detail and copious literary references – a host of grotesque characters, peculiar set-pieces. But despite its many flaws, it’s a memorable piece, and I don’t regret reading it, it’s just a shame it didn’t live up to its initial promise.

Thanks to Edelweiss and publisher And Other Stories for an ARC

[Side Real Press · Rating 2 out of 5]

I am going to assume that most readers of this review will already be aware of Aickman’s work. His volumes of ‘strange stories’ (his own description) are now readily available in h/b and p/b editions and his star has been in the ascendancy for the last ten years or so, a situation certainly aided by Tartarus Press. His style (which has elements of surrealism, dreamscape, psychological insight and symbolism) is now recognised as a term in its own right 'Aickmanesque’ which says something for his influence on the weird/strange story genre.

Whilst some of his tales are brilliant (‘The Hospice’, ‘The Trains’, Ringing The Changes’ are wonderful) I am not a ‘devotee’ at the authors' shrine and of the only novel (of his two) I have read, ‘The Model’ I remember absolutely nothing bar thinking it was a bit too clever for its own good. I should perhaps say in parenthesis that his autobiography ‘The Attempted Rescue’ is wonderful and very highly recommended.

So, introduction aside, what are to make of the book under review.

As the blurb says, much of the action takes place in a fictionalized version of Gabrielle D’Annunzio’s short-lived occupation of Fiume (now Rijeka) in Croatia. It's not necessary to know the story of Fiume (called Trino in the novel) as the story gives enough information to get a sense of it, but it might help a little - the internet will provide.

In essence, two late teen schoolgirls (Cressida and Vivien) and their Aunt Agnes (an ex-lover of Virgilio Vittore, the D’Annunzio based character) join the occupation at Trino and experience life there; thrown into a society of mercenaries, chancers, artists and misfits of all types who now have new roles to play in the governance of the new State (“everybody is someone else”). There are strong elements of the traditional Grand Guignol play in the form of fights, somnambulism, attempted rapings, rainstorms and floods and the like, but there are, of course, ‘Aickmanesque’ episodes as well. One of the best occurs prior to the girl's arrival at Trino (the novel takes its time getting them there) where Cressida attends an excruciating and embarrassing ‘gathering’ thrown by her employer. Another occurs when the girls go to Trino’s ‘Garment Store’ a huge gloomily lit room filled with clothes (which various people are digging through to accumulate a wardrobe) presided over a woman whose “sex was apparent only in a rather embarrassing way” a typical Aickman phrase.

It is fair to say that there is an undertone (it is always the undertones that count in Aickman) of lesbianism at play here. There is plenty of dressing up, undressing, bedrooms and girls together but (of course) no overt ‘action’. The feminist element is certainly more apparent; almost all the women appear far more dynamic and capable than the men who are generally useless, deluded, self-centred and self-aggrandizing, despite being the ones ostensibly in charge. Vittore himself is a largely hidden character but is he the puppet master, or more the Wizard of Oz?

Everybody is playing a part, and this theme is hammered away at ad nauseum. The girls themselves are precocious prissy pains constantly quoting Shakespeare, and generally trying to be smart arses- although the book is also something of a ‘coming of age novel. The men are 'playing’ Government and everyone is supported by a cast’ of local ‘Albanians’ who do all the cleaning, cooking etc (ie: symbolic prop-shifters/proles). And this is the problem of the novel- it isn’t one. it is really a collection of ‘scenes’ that allows Aickman to indulge himself in his pet themes again and again. Each character is something of a cut-out, reciting their lines; nothing is natural, its all a fake. Once one twigs that, and if it wasn’t clear enough earlier in the book it is immediately apparent once our main characters reach Trino, we even have a play within a play of sorts, the novel becomes tedious and repetitive. Each chapter has a quotation to ‘spot’ which I soon couldn’t be bothered looking up; there are lots of Aickmanesque allusions (don’t work desperately to fathom them out either, they’ll be another along shortly for you to have a go at. Freudian (Fraudian? it's all a fake remember) stye statements abound.

I think we are meant to be impressed by all this cleverness/wordplay/symbolism but it rapidly becomes tedious as the pudding is over-egged way too much. I also lost interest in Aickman’s characters because I felt that even he had gotten bored messing about with them himself.

Overall this book is something of an overlaboured mess, and I had to work hard to finish it. It only (just!) avoids one star because the best parts (maybe accounting for 15% of the total) are really good and great examples of Aickman at his uncomfortable best. But if you are new to him, you can read similar material in his far more coherent (if one can use that term with regard to him) short stories. A book is for the hard-core fans only.

[Bill Wallace · Rating 3 out of 5]

Robert Aickman called his short works of fiction "strange stories," which must make this book a "strange novel," a pretty good descriptor of a book difficult to categorize otherwise, or even describe. The prose is generally easy to read, though rich enough in esoteric reference to challenge normal erudition. As the introduction indicates, the "action" doesn't really get going till around chapter 12 and I thought it flagged considerably in the last few chapters, enough that I wonder if Aickman lost interest or realized that the ending didn't much matter. On the positive side, Aickman is a terrific writer and individual sentences shine like gems, surprising and funny in equal parts. The story is minimal but certainly evocative of decadent post-WW1 Europe and reminiscent of early 20th Century works like Kubin's THE OTHER SIDE. It also reminded me, especially in the arch turns of phrase to suggest the period of its telling, of some of Pynchon's work. And, since it is a work by Robert Aickman, there are delightful scenes and passages that suggest the ineffable and unspeakably unpleasant. Recommended for any fan of Aickman's work but other readers may be puzzled or even annoyed.

[Des Lewis · Rating 5 out of 5]

A genuine masterpiece of a book full of genius literary references and sayings, Aickman-type strange-story attractions, new co-vivid dreaming, stirring absurdist comedy and a transfiguration of souls.

I am afraid my detailed review elsewhere under my name is far too long for posting here. Above was its conclusion.

[S.M. · Rating 2 out of 5]

This is my second Aickman novel, my first being The Model, and though I didn't really like the latter it was far better than this. I'm sensing a pattern with his novels, and it's one that doesn't appeal to me. It's a shame because his short stories are peerless. I don't know how to describe this book, but I found it boring, tedious and disjointed to the point where it was impossible to get into. Two stars because there were a few weird moments that I enjoyed.

[Zac Hawkins · Rating 3 out of 5]

Aickman at his most fanciful, which means its absolutely great, florid prose. Just not exactly my thing or my favourite entry in the masters canon. Still delighted its seen print however, considering its posthumous nature.

[Chuck LoPresti · Rating 4 out of 5]

Something like a fever dream. Aickman is more known for his odd short works that defy description. It would be fair to call them strange – even disturbing, but they are generally more weird than scary and his psychological insight is evident in his character development. If you’ve ever listened to a person, be it a toddler or a articulate adult, talk about their dreams – you are aware that keeping your grasp on the discussion is commensurate to the dreamer’s ability to retain those dreams in the early waking state. For this reader – in the short format – it’s more rewarding. I did enjoy this read – Aickman writes well and is downright hilarious at times. The gravity of the situation at hand doesn’t always match the alacrity of the young ladies that drive the action here – and that’s a large part of what makes him unique. In lesser hands – it might just pass as inconsistent and pointless, but Aickman is a brilliant thinker and writer. Being a lifelong devotee of Jarry and absurdist writing in general – these oddities are more familiar than distracting. Fans of Donoso should be on board with this for example. If you’re new to Aickman – start with the shorter works – they are amazing. Said a different way – I was more focused on the why and how than the what of this book. If you need a brief synopsis – two bored and intelligent pre-college English girls find no amusement in the routine life that sems to be inevitable as they feel their youthful days ending. Their odd and interesting guardian affords them the opportunity to get away to Imagination Italy where an enigmatic ruler, who may or may not really exist, runs his wartime kingdom based on a theory of musical divination. The girls leave stuffy England behind and set forth on what can only be clearly described as the opposite of predictable boredom. If you don’t mind pawing semi-blind through crepuscular fog with a giggle and whistle – you’ll enjoy this unique experience.

[Jim · Rating 4 out of 5]

This strange humorous book takes as its subjects two young British women who go to volunteer their services in Gabriele D'Annunzio's little fascist city state on the Adriatic. Except in this book he is called Virgilio Vittore. Robert Aickman finished this novel in 1975 but did not publish it during his lifetime. Go Back at Once maintains its sense of humor throughout, even when Vittore's city/state is savaged by an insurrection. We don't even see the Duce of Trino until he climbs aboard a lifeboat when his yacht is blown up.

The scenes in Britain are all right, but the story becomes more interesting when Cressida and Vivien are in Vittore's strange city.

[zunggg · Rating 3 out of 5]

Unpublished in his lifetime, this is a delightfully screwy subversion of the Bildungsroman, in which a couple of charming naïfs find themselves mixed up in a short-lived independent city-state governed “according to the laws of music” by an enigmatic and somewhat proto-fascist Garibaldi-type. Aickman is ickily obsessed with the particulars of the numerous different costumes his female characters put on, but at the same time they’re quite the pair of asskickers, navigating the surrealities (men called Brian, the “garment store”) and outright insanities (the house formerly occupied by a serial killer, decorated with eyes and teeth) of their situation with endless and very English practicality. Over the novel looms the horror of the First World War, in which our heroine’s adored older brother was killed. It’s a very funny book, much lighter than Aickman’s short fiction, but unsettling in a different way.

[Avid Cobwebber · Rating 4 out of 5]

Gonna give this one four stars because it's Aickman - reads beautifully, and homes in on the obscure, the dreamily profound... his talent is intact here.

Criticism mainly is that for how long it is, it doesn't have the punch of his short works. This is mainly due to that length, the consistency of weaving a narrative about a limited number of characters in a very finite moment. The moment is a revolution, and it is fairly exciting as a plot, but in Aickman's telling there is heavy use of irony, and heavyhanded quotes of Shakespeare from one particularly obsessed character.

It reads in a breeze and counts as one of this author's unique cannon - if you're running out of Aickman to read, don't think for one second this one isn't worth reaching out for. Just reach out for a decent used copy, don't patronize any big rainforest corporations for literary divertissements.

[Robert Micallef · Rating 5 out of 5]

A novel written by the peerless, Robert Aickman featuring a larger than life Nietzschean superman, character based on 'Gabrielle D'Annunzio.' Yes that D'Annunzio, a proto fascist futurist who actually took over the city of Fiume to set up a pirate utopia. How could I not be in?!

[Slagle Rock]

I read about half of this book. I quit when the tone, which I found humorous at first, just started to come off as pointless. I didn't get any of the characters, they seemed more like they were part of a satirical skit. Was there a serious point about authoritarianism to be made here?

[Elisabeth Watson · Rating 4 out of 5]

At once very reminiscent of a Wes Anderson film and much edgier and queerer than anything Anderson might make. The edge is nearly always hidden, but glints out again and again. Totally bonkers, and totally baroque and hard to put down. My favorite prose style: What WILL he say next.

[Kevin Wilson · Rating 3 out of 5]

?????????

Rather bizarre, but kind of fun? I don't know, not entirely sure what I just read.

There's a subtle sense of humor to this novel, not sure I've ever encountered it before. Not sure how to describe it, either. Extremely shallow, but in a good way?

[Morgan · Rating 4 out of 5]

3.5

[Mauro · Rating 3 out of 5]

Dreamlike atmosphere, Italy.
Reads like a Fellini movie, like Otto e Mezzo, but without the metalinguists.

[Fussnik · Rating 1 out of 5]

dnf. Neil Gaiman blurb on the cover, but it was too slow.

[Claire Peña · Rating 2 out of 5]

Did not super love the writing or where the plot ended up but honorable mention due to a man’s ability to write well from a female perspective in the 1920s