I started off the week with Nick Hornby’s collected essays about books, so it seems appropriate to end the week with one of Hornby’s novels. High Fidelty is my favorite, and I recently reread it in ebook form.
As can be seen in his essays in Songbook, Hornby not only loves music, but he can write about songs, performers, and listening to music with affection and understanding. High Fidelity recounts the story of record store owner and occasional DJ, and inveterate list-maker, Rob Fleming. When the story opens, Fleming is making a list of his “desert-island, all-time, top five most memorable split ups,” which he then shares with the reader. Sadly, or not perhaps, his current breakup does not make the top five list. But it is his relationship with Laura, the current breakup, that drives the story.
Well, that and music. For Rob–and Dick and Barry, his two employees at the record store–everything comes back to music. They are forever creating and critiquing lists of songs such as “best side one, track ones of all time.” Rob’s list is “Janie Jones” (The Clash), “Thunder Road” (Bruce Springsteen), “Smells Like Teen Spirit” (Nirvana), “Let’s Get it On” (Marvin Gaye), and “Return of the Grievous Angel” (Gram Parsons) in case you wondered. These lists and the myriad other musical references provide a sound track to the novel that carries the story along.
Hornby understands how people talk about their interests, music in this case, and how those interests can sometimes slide into obsessions. In Rob’s case, his musical obsessions seem to keep pulling him away from making commitments. It is easy to just keep going back to the shop everyday and not worrying about your relationships.
Like a great song, High Fidelity pulls you in to the flow of the story, has its crescendos and decrescendos, offers some great solos, and finishes with a satisfying cadence. What more could one ask?