A Long Way Down, which came out in March, is the fourth of Nick Hornby’s books to reach the big screen.
First there was the semi-autobiographical Fever Pitch, in which Colin Firth played a fanatical Arsenal supporter. (An American version was also released featuring Drew Barrymore and the Boston Red Sox.) Then came High Fidelity, in which music-lover Rob reflects on a string of failed relationships. About A Boy featured the laddish Will, played by Hugh Grant, who befriends a young boy with a troubled home life. Now A Long Way Down presents an unlikely foursome as they contemplate suicide. With subjects like these, it’s little wonder Hornby is known for his dry, dark humour.
Invisible style
I’m a big fan of Nick Hornby’s writing. I admire his understated, self-deprecating wit. I like his wry observations about the seemingly trivial details of human relationships and family life. I appreciate the insight he offers into the psyche of a certain brand of bumbling nineties males. I love the way that he handles heavy topics with a relaxed, cheerful and poignant tone that feels utterly appropriate. I’m not the only one to praise his so-called invisible style, which is often described as being ‘deceptively simple’. There is, of course, a good dose of bad language, adultery, obsessiveness and family breakdown in his novels. But what else would you expect from a writer committed to exploring the emotional and social responsibilities of 21st-century individuals?
