Isabel Waidner’s latest novel, As If, plunges readers into a disorienting and darkly humorous exploration of identity, performance, and the precariousness of modern work. Building on the surreal foundations laid in her previous work, including 2023’s Corey Fah Does Social Mobility and 2021’s Sterling Karat Gold, Waidner crafts a narrative that feels both unsettlingly familiar and utterly bizarre. The novel, set against the backdrop of London’s Clerkenwell district, centers around two strikingly similar men whose lives become entangled in a web of mistaken identities, surrogate families, and existential questioning. Waidner, who won the Goldsmiths Prize for Sterling Karat Gold, continues to explore themes of success and the often-alienating systems that define it, but in As If, the focus shifts to the performative nature of self and the anxieties surrounding labor and belonging.
As If immediately establishes a sense of unease, mirroring the theatrical themes it explores. The story unfolds with a distinctly Pinteresque quality, characterized by fragmented dialogue and a pervasive sense of ambiguity. Aubrey Lewis, a former actor grappling with the aftermath of stage fright and the loss of his wife, finds his carefully constructed solitude disrupted by the arrival of Lindsey Korine, a man who is his uncanny double. Their initial encounter, described with a chilling precision, sets the stage for a narrative that blurs the lines between reality and illusion. The novel’s opening scene, reminiscent of Samuel Beckett’s Waiting for Godot, introduces a dynamic of repetition and uncertainty that permeates the entire work. Waidner masterfully uses this mirroring effect to examine the anxieties of self-perception and the ways in which we construct and perform our identities for others.
The Precariousness of Performance and Identity
Waidner’s exploration of the acting profession serves as a potent metaphor for the broader anxieties surrounding work and identity in contemporary society. Both Lewis and Korine are haunted by past failures and struggling to find their place in a world that demands constant performance. Lewis, once celebrated for his role in a Barbican production of Waiting for Godot, retreated from the stage after succumbing to crippling stage fright. He then found himself in a long-running television series where his performance was largely obscured by a prosthetic nose, a detail that underscores the dehumanizing aspects of the entertainment industry. Korine, meanwhile, drifts through a series of unsatisfying jobs, seemingly unable to find a stable footing. The novel suggests that the act of “performing” oneself – whether on stage, at work, or in everyday life – can be both liberating and deeply alienating.
The narrative structure of As If further reinforces this sense of instability. The story is told through alternating chapters narrated by Lewis and Korine, each offering a subjective and often unreliable account of events. This shifting perspective creates a disorienting effect, forcing the reader to question the nature of truth and the reliability of perception. As the two men’s lives become increasingly intertwined, they commence to inhabit each other’s roles, blurring the boundaries between their identities. Lewis finds himself assuming the responsibilities of a husband and father to Korine’s family, even as Korine attempts to impersonate Lewis at an audition, leading to a series of increasingly absurd and unsettling situations. This constant shifting of selves raises profound questions about the fluidity of identity and the extent to which we are defined by our roles and relationships.
London as a Character: Clerkenwell and Beyond
The setting of As If – the gritty, often overlooked corners of London – is as crucial to the novel’s atmosphere as its characters. Waidner vividly portrays the urban landscape of Clerkenwell, with its housing estates, grotty sublets, and abandoned alleyways. The city is not merely a backdrop but an active participant in the narrative, reflecting the characters’ sense of alienation and displacement. The Barbican underpass, in particular, is presented as a space of dubious shelter, a liminal zone where identities are fluid and boundaries are blurred. This depiction of London echoes the themes explored in the television series Sluggish Horses, with its focus on the underbelly of the city and the lives of those who operate on the margins. The novel’s setting contributes to its overall sense of unease and reinforces the idea that identity is often shaped by the environment in which we live.
Waidner’s use of language further enhances the novel’s unsettling atmosphere. Her prose is characterized by a distinctive blend of realism and surrealism, creating a world that feels both familiar and strangely distorted. She employs a dry, understated tone, even when describing the most bizarre events, which adds to the novel’s unsettling effect. The dialogue is often fragmented and elliptical, mirroring the characters’ internal struggles and their difficulty in connecting with one another. This stylistic approach, combined with the novel’s unconventional narrative structure, creates a reading experience that is both challenging and rewarding.
Echoes of Orton and the Anarchic Spirit
The novel as well reveals a clear influence from the playwright Joe Orton, whose work often challenged societal norms and explored themes of transgression and rebellion. Lewis is galvanized to pursue acting after witnessing Gary Oldman’s portrayal of Orton in the 1987 film Prick Up Your Ears, and Waidner’s own writing shares Orton’s macabre relish for subverting authority. The line, “Consistency is the death of good acting,” spoken by Lewis, encapsulates this anarchic spirit, suggesting that true creativity requires a willingness to embrace chaos and uncertainty. Waidner’s novel, like Orton’s plays, is a provocative and unsettling exploration of the human condition, challenging readers to question their assumptions about identity, performance, and the nature of reality.
The presence of Lucien Jelley, a shadowy understudy who closely resembles both Lewis and Korine, adds another layer of complexity to the narrative. Jelley represents the ever-present threat of replacement, the fear that someone is always waiting in the wings to accept our place. His ambiguous role and unsettling presence contribute to the novel’s overall sense of paranoia and uncertainty. Waidner’s exploration of the “double” – the idea that we all have multiple selves – is both psychologically astute and deeply unsettling. The novel suggests that our identities are not fixed but are constantly shifting and evolving, shaped by our experiences and our interactions with others.
As If is a challenging and rewarding novel that lingers in the mind long after the final page is turned. It’s a work that demands to be reread, its layers of meaning gradually revealing themselves with each encounter. Waidner’s masterful use of language, her unconventional narrative structure, and her unflinching exploration of the human condition develop this a truly remarkable achievement. The novel’s exploration of the precariousness of work and the anxieties surrounding identity resonate deeply in a world increasingly defined by instability and uncertainty.
Isabel Waidner’s As If was published by Hamish Hamilton on February 15, 2024, and is available for purchase at guardianbookshop.com, priced at £16.99. Readers interested in Waidner’s previous work can explore Corey Fah Does Social Mobility (2023) and Sterling Karat Gold (2021), both of which demonstrate her unique and compelling voice.
Key Takeaways
- Surreal Exploration of Identity: As If delves into the fluid and often unstable nature of identity, challenging conventional notions of self.
- Theatrical Metaphors: The novel uses the acting profession as a metaphor for the performative aspects of modern life and the anxieties surrounding work.
- Urban Landscape as Character: London’s Clerkenwell district is vividly portrayed as a character in its own right, reflecting the characters’ sense of alienation and displacement.
- Influence of Joe Orton: Waidner’s writing shares Orton’s subversive spirit and willingness to challenge societal norms.
As Isabel Waidner continues to push the boundaries of contemporary fiction, As If solidifies her position as a uniquely talented and provocative voice. Readers eager to explore similar themes may also be interested in the works of Ottessa Moshfegh and Sheila Heti, both of whom are known for their unconventional narratives and unflinching explorations of the human psyche. What are your thoughts on the novel’s exploration of identity and performance? Share your comments below, and be sure to share this article with your fellow book lovers.
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