The Way by Dermot C. Miller
My rating: 4 of 5 stars
The story of how I came to read this book is, I think, necessary to relate before I launch into the review. It began with an invitation to a birthday party. There, amid strangers, I met a thoroughly charming Irishman named Enda, another expat (he hates the word, but it seems to fit) with a literary bent. Last year, Enda—along with his writing and business partner, María—commenced on the bold experiment of opening their own publishing company, Ybernia. This book is among the first published by this new enterprise, and I was given a free copy.
For this reason, this review can hardly be unbiased. However, there are other reasons to be suspicious of my opinion. Despite never having met Miller, I could tell quite soon that we have many experiences, tastes, and opinions in common. I am not talking about anything so lofty as a spiritual connection. Simply put, we are both guiris (another word that seems to fit) who enjoy sunny Spanish landscapes and greasy Spanish jamón. And we are both writers.
Beyond this, as another expat author, I have considered the same sorts of writerly challenges that Miller confronts in this book—namely, how to weave together stories of one’s native country with experiences abroad. I remember a review by Orwell of Henry Miller’s Tropic of Cancer (about Miller’s—that is, Henry Miller’s—depraved time in Paris), where Orwell remarked that life abroad can convey a certain superficiality to one’s experiences—and thus one’s writings—since one is normally single and unattached, both in terms of family and of culture. Orwell himself was quite familiar with this issue, as he wrote about his time in Paris (as a plongeur in a hotel) and in Spain (fighting in the Civil War).
Now, this may seem like a trivial issue to you; but in my experience, even after years abroad, one’s imagination—the images which resonate most deeply—remains tied to where one grew up. Aside from that, in a foreign land, one is inclined to focus on the most salient cultural differences—the cuisine, the weather, the history, the great monuments—which, depending on one’s taste, can be attractive or repellent, but little more. In one’s native land, however, these features move far into the background, allowing one to write about potentially “deeper” subjects.
This, at least, is how I think of the problem confronting an expat author. And unless I am mistaken, Miller (that is, Dermot C. Miller) has confronted this same challenge here in this book. And his solution is interesting.
He settles on a bipartite design. The frame story is a trek on the Camino de Santiago, undertaken by an Irishman haunted by his past. This tragic backstory is then recounted in a series of flashbacks, which take the reader from his childhood to the events that traumatize our hero (who shares Miller’s first name and middle name). Most of this backstory takes place in Miller’s Northern Ireland, and serves to explain how he ended up here on the Iberian Peninsula. He thus hits upon a natural way of uniting his native land and his adopted home.
Both stories, taken separately, are quite well done. The backstory ultimately becomes a kind of thriller, as the protagonist eventually gets mixed up in the IRA. Meanwhile, the frame story is a travelog, in which the protagonist revels in the landscapes, folklore, and history of the Camino de Santiago. The contrast in emotional registers between these two parts gives the book its impetus—as either one, without relief, might have grown wearisome. Nevertheless, the juxtaposition is sometimes jarring, as the reader is thrown from tragedy to tourist brochure rather abruptly. I should say, however, that I did find it believable that a bookish type would use travel as a kind of nerdy therapy. It’s certainly been done before.
In terms of prose style, I actually found myself identifying with Miller—both with his strengths and his shortcomings. To his credit, he achieves the most important quality of prose—namely, readability. I made my way through these pages quite quickly, never put off by any thorny or offensively ugly sentences. If he is guilty of any writerly sins, it is (for lack of a better word) prettifying. That is to say, for my taste, Miller gives a literary polish to some parts which would have been better left simple and raw. Yet, as I am absolutely guilty of doing this myself, it would be hypocritical of me to knock him about for it. I can only say, in his (and my) defense, that if you are a relatively unknown author, it is difficult to resist the temptation to prove that you have serious literary chops.
This overlong and self-important review has been written merely to say that Miller has authored a greatly enjoyable novel. It can be read with profit by readers with an interest in the Troubles or the Way of Saint James (how much overlap is there in the two groups?), or by any reader interested in Irish or Spanish history more generally. Indeed, I would recommend this book to any expats (sorry, Enda) and guiris who want to think of ways their past and present homelands can be woven together.
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