One of the most interesting things about working my way through a collection of literary short stories has been the obviousness of the author’s ideological assumptions. Most of the short fiction I have read between now and the end of my schooling has been science fictional and genre writers have grown quite adept at cloaking any personal beliefs in a combination of irony, abstraction and re-iteration. The majority of genre authors may be left-wing but most of the genre’s tropes are right-wing and so you often have to pay attention to the background or the words of secondary characters in order to gain a glimpse of what the author actually believes. This type of deep-reading and second-guessing is not necessary in Salter’s fiction: His assumptions about the nature of the good life are right there in the foreground of everything he writes.
Like most people, Salter is clearly no monolith. His ideas about the benefits of passion vs. the benefits of emotional control wax and wane with every story and so a story like “Comet” can unambiguously champion the idea of a life devoted to hedonistic passion while “Eyes of the Stars”, “My Lord You” and “Give” can strike notes of caution. All of the stories in this collection are about the wealthy and middle-aged and most of these people are being quietly devoured by regret and yearning for that one moment where they might have given themselves over entirely to pleasure. Though occasionally dismissive and judgemental of the people who live under a cloud of permanent regret, Salter does try to sympathise with the people who simply aren’t capable of living that type of lifestyle. In fact, “Platinum” and “Palm Court” are both quite explicitly about the quasi-Darwinian forces that exclude the weak and un-committed from Salter’s idea of the good life.
I use terms like “weak” and “un-committed” advisedly as while Salter does recognise that not everyone is going to pursue his idea of the good life, he struggles to understand why anyone would turn their back on it except as a result of trauma or timidity. In fact, I am almost tempted to say that Last Night is Salter’s failed attempt to write his way into an understanding of people who value emotional stability over passion, hence the number of stories that turn out to be about regret.
In the comments to my piece about “Palm Court”, Brendan C. Byrne says:
I think it might be better considered as a pair with the following entry, “Bangkok”, another two-hander with the same themes, though more bare and bitter. Together they ruminate on the “lost” love which animates the man’s history but which seems far more slight to the woman, and what the return of the fetishized figure of the past creates (mostly just an unsuccessful challenge to the pathological).
I mostly agree with this reading but I think that it’s the bareness and bitterness of “Bangkok” that makes it the more interesting story of the two: “Bangkok” and “Palm Court” are both about a woman trying to rekindle a relationship that she once sabotaged and a man who refusing to commit to the demands of a passionate life and hating himself for it too. The difference between the two stories is that “Bangkok” strips away the narratives that the characters tell about themselves. This story is Last Night boiled down to a thick black paste, you take your shot at a life defined by amazing sex or you sit on the side-lines resenting your decision forever.