
The Möbius Book by Catherine Lacey review – beyond the bounds of fiction
A Möbius strip is a length of any material joined into a loop with a half twist. It's an uncanny shape, common and obvious, easily created and yet awkward to describe geometrically. For literary purposes, a Möbius is interesting because there's intricate structure and constraint but no ending. It goes around again, mirrored with a twist. Lacey's book takes this literally, the text printed from both ends, with memoir and fiction joined in the middle. Twin stories experiment with plotlessness and irresolution, while remaining aware of the way fiction attaches itself to linear plot and reverts to romance and quest. Characters find and lose love, find and lose meaning.
In one half, two women, Edie and Marie, reminisce about their messy love lives and Christian beliefs in Marie's grotty apartment, ignoring the pool of blood forming outside a neighbour's door. In the other half, the first-person narrator leaves a controlling partner, recalls an ascetic adolescence and struggles to write and think about faith with clever friends during lockdown.
Lacey is fascinated by literary form and by the metaphors for literary form, finding fiction at once a constraint and a space for play. Late in the day, the narrator, 'with trusted friends who knew how, got tied up and whipped', as 'a rite in all this, the chaos of having more freedom than I knew what to do with'. It's impossible, in a book so preoccupied with crucifixion, martyrdom and self-denial, not to see the image of the twisted Möbius loop in this friendly bondage. The structures of novels and the iconography of Christian martyrdom are both narrative responses to suffering; both offer freedom through constraint. But for Lacey, suspicious of pleasure, the compatibility of faith and art is questionable.
The two modes of the book, which I hesitate to call fiction and memoir because neither is wholly committed to realism or reality, undermine each other, with images and anecdotes reappearing in transmuted form. The shadow of the angry, manipulative ex-partner falls across both, challenging the narrator's memories and intentions although, reassuringly, never inviting the reader's distrust. Edie's recounting of a transformative encounter with a dying, talking dog which speaks of the meaning of suffering (is 'dog' a Möbius rendition of 'God'?) is reprised when the narrator attends to a man lying on the street. In the first-person section, the narrator sees Matisse's painting The Red Studio in New York's Museum of Modern Art, 'the red I imagine on the floor of an otherwise white room', reflecting the blood pooling under a neighbour's door that Edie and Marie in the novel section decide is probably 'paint or something'. As the narrator comments: 'Reality at large has never been my subject, but interiority always has been.'
Lacey asks large questions about interiority, especially with regard to the subject of Christian faith. For some readers, it may be an alien idea that the sharply modern intellectual rigour on display here could be combined with religious conviction. How can a narrator who can play off Proust against Gillian Rose seriously expect to find consolation in the old myths about the baby in the manger and the man rising from death? It's a question Lacey acknowledges, partly as unanswerable: 'We want to speak of gnosis and mysticism without our phones listening to us and populating browser ad space with advertisements for Goddess Retreats and bogus supplements and acupuncture mats.' Even so, the narrator attempts an exorcism, employs an 'energy healer', is seduced by ideas about magic numbers. 'Symbolism is both hollow and solid, a crutch, yes, but what's so wrong with needing help to get around?'
The question is not rhetorical. There's a deep ambivalence in this book about needing literary and philosophical 'help to get around', about whether we're allowed to want or need art, which is related to the narrator's lack of appetite and consequent emaciation. 'I was afraid of the line between basic needs and cravings, between living and lust.' The fear of slipping from necessity into pleasure shapes the distrust of fiction. What if storytelling is for fun? What if we don't really need it? What if only what's necessary is true, or only truth is necessary?
Inevitably, the fictional half of this book refuses many of the satisfactions of a novel. Like a miniature homage to WG Sebald's Austerlitz, the present action is mostly the recounting of past events, so that most of the characters, times and places appear only through a conversation between friends. There are complicated, triangular relationships in the background, between characters who never quite take shape, whose voices are only – and unreliably – recalled. Third-person narrative always calls into being a narrator, another layer of artifice, and here the slippage between present, past and past historic tenses also constantly reminds us that this story is at once engaging and not real. The questions are constant, implicit, teasing, elaborated rather than answered in the dark mirror of life writing. They don't go away. You can go round again.
Sign up to Inside Saturday
The only way to get a look behind the scenes of the Saturday magazine. Sign up to get the inside story from our top writers as well as all the must-read articles and columns, delivered to your inbox every weekend.
after newsletter promotion
The Möbius Book by Catherine Lacey is published by Granta (£16.99). To support the Guardian buy a copy at guardianbookshop.com. Delivery charges may apply.
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


The Independent
24 minutes ago
- The Independent
Disney brings the Grid, and the light bikes, with 'Tron: Ares' footage at Comic-Con
The Grid took over Comic-Con on Friday, bringing the stars of the new 'Tron: Ares' films to unveil footage and reveal the story behind the franchise's third movie. The film stars Jared Leto, Jeff Bridges, Greta Lee and Jodie Turner-Smith as the story brings the virtual environment of the Grid, complete with light bikes, into the real world. Disney showed off several minutes of footage, including a light bike chase scene in the real world and another in the red-hued Grid. Propelling the onscreen action is a propulsive Nine Inch Nails soundtrack. 'It's fun to see it on the big screen for the first time,' said director Joachim Rønning. Disney turned the Hall H panel into a spectacle, with red lasers filling the room and characters in suits with red lights entering the massive hall. Asked what excited her about joining the 'Tron' franchise, Lee responded: 'I just wanted to ride a light cycle.' Friday's panel ended with the premiere of the music video for "As Alive as You Need Me to Be," the first Nine Inch Nails song from the soundtrack. 'Tron' has never been in the top tier of sci-fi franchises. The original 1982 film starring Bridges as Kevin Flynn, a man sucked into a computer vortex known as the Grid, was admired for its ground-breaking concept and effects, and was a modest hit with moderately good reviews. Perhaps more importantly, it won a cult following and has been maintained enough in cultural memory to remain a valuable property for Disney. The 2010 film 'Tron: Legacy,' starring Bridges and Garrett Hedlund, made more than $400 million globally. A TV show that followed, 'Tron: Uprising,' lasted just one season. Norwegian director Joachim Rønning has helmed other Disney franchise films: 2017's 'Pirates of the Caribbean: Dead Men Tell No Tales' and 2019's 'Maleficent: Mistress of Evil.' Leto and Bridges are both Oscar winners, and Rønning is an Oscar nominee. ___ AP Entertainment Writer Andrew Dalton contributed to this report.


The Independent
24 minutes ago
- The Independent
Horror master Kiyoshi Kurosawa to bring eerie storytelling to his first samurai film
Japanese director Kiyoshi Kurosawa, known as a master of horror films set within the neurotic realism of the modern day, will bring his signature edge-of-your-seat storytelling to a genre he has never tackled before: the samurai movie. 'I do want to do it once, and it looks like it might be really happening, although things are still uncertain. I may finally be able to make my samurai film,' he told The Associated Press, noting he couldn't give much detail just yet. His upcoming samurai film will not have sword-fight scenes or action-packed outdoor shots that characterize the genre, known as 'jidaigeki.' Instead, it will be the same creepy quiet narrative of Kurosawa movies, where the action takes place almost claustrophobically, in this case, in a castle that just happens to be set in the samurai era. That concept alone is enough to pique a movie lover's interest. The horror master was just honored at this year's Japan Cuts film festival in New York. The festival presented him the Cut Above award, international recognition that follows the Silver Lion at the 2020 Venice Film Festival for 'Wife of a Spy,' centered around a troubled married couple during World War II. Kurosawa, who is not related to 'Seven Samurai' and 'Rashomon,' director Akira Kurosawa, said period pieces are difficult to make due to the extraordinary costs of sets, props and costuming. He also made it clear he isn't interested in directing science fiction, but rather pursues realism. However, he readily acknowledged that his films are all made up, in fact, 'a lie.' 'Maybe this is my weakness, or my characteristic; I want to tell my stories in a setting of a very real modern-day society, yet I want to entertain," he said. "And so it's a contradiction that I aim for every time," 'You create a lie, like a horrific character (in a realistic framework),' he said. Kurosawa, who has managed to produce a film a year over his 40-year career, invests a lot of time researching the setting and backdrop of his films, including much reading, to make it as realistic as possible. In his most recent thriller, 'Cloud,' a man who is down on his luck, portrayed by Masaki Suda, makes dubious profits by reselling items he finds online at far higher prices. It starts harmless enough, except, as the plot thickens, the protagonist is confronted by victims out for revenge. Kurosawa is not one to hold back on violence, often gory and extreme but beautifully shot, sometimes almost comical in its bizarreness. 'Cure,' a 1997 film about a police detective investigating a series of gruesome murders, starring Koji Yakusho, uses continuous shots purposely without cuts to bring out the varied emotions, and the coldness of the characters, sometimes changing viscerally within the same scene, to explore madness. Despite his insistence on realism, Kurosawa, who counts Alfred Hitchcock among his influences, doesn't rule out the addition of tiny unreal elements for that perfectly subtle and eerie effect. But his movies are never happy-go-lucky, he said. 'Everything being happy is not possible if you start with the realism of modern-day Japan,' said Kurosawa. Kurosawa believes that while filmmaking is usually a giant confusing project where multiple players must work together, producers worrying about the box office and actors concerned about their roles, it is ultimately about dealing with what feels right to your deepest self. 'In the end, it all boils down to: I understand there are many opinions, but we must choose what is right. What does being right mean? To figure that out is the creator's job,' he said. ___


Daily Mail
24 minutes ago
- Daily Mail
Anthony Anderson admits 'regret' over his VERY inappropriate comment to Lindsay Lohan when she was just 17
Anthony Anderson has admitted he 'regrets' an inappropriate comment he made to a teenage Lindsay Lohan in a resurfaced 2003 interview that has recently gone viral. The Black-ish star, 54, had been filling in on The Sharon Osbourne Show while joined by a then 17-year-old Lohan as she promoted her new movie Freaky Friday. Anderson - who had been 33 at the time - talked to Lohan as she opened up about moving in with close friend Raven-Symoné. She explained, 'I don't have a boyfriend,' which prompted Anthony to exclaim, 'She's single, but looking!' The Disney channel star emphasized, 'I'm illegal for people that are old,' with the guest host telling her, 'Some men like them young. We ain't gonna mention no names, but I'm one of them.' A spokesperson for Anderson told Entertainment Weekly in an article published on Friday: 'This interview was clearly intended as comedy. 'He regrets if the humor was in poor taste and maintains the utmost respect for Lindsay. Any implication to the contrary is both inaccurate and potentially defamatory.' has reached out to Anderson's reps for comment. Anthony Anderson has admitted he 'regrets' an inappropriate comment he made to a teenage Lindsay Lohan in a resurfaced 2003 interview that has recently gone viral The conversation began when he had told Lohan, 'Both of you are beautiful women. 'Both of you are young and have your individual styles. What gentlemen will be at the new pad with you and Raven-Symoné?' Also during the past interview, Anderson was preparing to go to a commercial break and before doing so, he mentioned Lohan's movie Freaky Friday. 'Right now, we're about to get our freak on,' the actor said and then moved closer towards the actress on the couch. The Law & Order star then put his arms around Lohan who placed her hands over her mouth. The 2003 interview has recently gone viral on social media as the actress is in the midst of promoting the upcoming sequel Freakier Friday. Some over on X offered their thoughts on the resurfaced clip, with one penning, 'It just kept getting worse... and worse...' Another added, 'This is shocking. Has anyone ever seen footage of him actually being funny btw?' and one social media user shared, 'She even said "I'm illegal" lol.' Another added, 'This is shocking. Has anyone ever seen footage of him actually being funny btw?' and one social media user shared, 'She even said "I'm illegal" lol' 'He actually said that out loud,' one said, while another commented, 'Nothing wrong with liking young WOMEN 18+ she was 17.' Others came to Anderson's defense as a fan shared, 'Calm down. It was cringe joke,' and one typed, 'It was extremely tacky but to me that's it.' Back in 2018, it was revealed that the actor was reportedly under a criminal probe by the LAPD when a female caterer accused him of assault. Anderson denied the allegations when they came to light that same year and a spokesperson for the comedian told The Blast, 'It's unfortunate that anyone can file a police report whether it is true or false. 'The authorities have not contacted Anthony or any of his representatives about this matter. Anthony unequivocally disputes the claim.' However, only a couple of months after the complaint had been filed, the L.A. District Attorney's Office opted to not press charges against Anderson due to lack of evidence. Nearly 20 years earlier in 2004, a 25-year-old female extra had accused Anderson as well as an assistant director of raping her on the set of the film Hustle & Flow. However later that year, the charges were dropped due to the judge finding that there was no probable cause to try the case. Another woman came forward in 2004 and accused Anderson of sexual assault which she had claimed occurred on set of All About The Andersons. The comedian was previously married to Alvina Stewart - whom he tied the knot with in 1999 and also shares two children with. Stewart initially filed for divorce back in 2015 but the pair reconciled two years later. But in 2022, she filed for divorce for the second time. After the former couple reached a settlement, it was revealed back in 2023 that Anthony was ordered to pay his ex $20,000 per month in spousal support. Lohan has yet to respond to the viral 2003 interview as she has been busy doing press for her upcoming movie Freakier Friday. On Thursday, the actress was joined by her fellow co-star Jamie Lee Curtis at the premiere of the film in Mexico City. And earlier this week, Lindsay looked incredibly youthful as she made an appearance at the star-studded screening in Hollywood on Monday. The project is a sequel to the 2003 Disney movie Freaky Friday. Lohan has yet to respond to the viral 2003 interview as she has been busy doing press for her upcoming movie Freakier Friday; seen with co-star Jamie Lee Curtis on Thursday in Mexico City Lohan has reprised her role as Anna Coleman in the upcoming film, alongside Jamie Lee Curtis, Chad Michael Murray, Maitreyi Ramakrishnan, Julia Butters and Ryan Malgarini. The premise is: '22 years after Tess and Anna endured an identity crisis, Anna now has a daughter and a soon-to-be stepdaughter. 'As they navigate the challenges that come when two families merge, Tess and Anna discover that lightning might strike twice,' per IMDB. The fantasy comedy film, which was directed by Nisha Ganatra, is set to hit theaters next month on August 8.