First edition
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Author | B. S. Johnson |
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Country | United Kingdom |
Language | English |
Genre | Dystopian metafiction |
Publisher | Collins |
Publication date
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1973 |
Media type | |
Pages | 188 |
ISBN |
Christie Malry's Own Double-Entry (1973) is the penultimate novel by the late British avant-garde novelist B. S. Johnson. It is the metafictional account of a disaffected young man, Christie Malry, who applies the principles of double-entry bookkeeping to his own life, "crediting" himself against society in an increasingly violent manner for perceived "debits".
Christie Malry, being a "simple man", above all longs for sex and money. In order to understand how money works, he takes a job in a London bank. This leads him to enrol in a bookkeeping course, where he learns the double-entry system. Bored by his bank job, he quits and starts work at Tapper's, a sweet factory.
One day, he has the idea to apply the double-entry system to his life. Every aggravation Malry suffers from society—such as being forced to walk along a particular stretch of pavement due to a building's placement—is revenged by a recompense—in this case, "[scratching] an unsightly line about a yard long into the blackened portland stone facing of the office block" (23–4). Having established this system, and growing progressively angry at society, Malry graduates from minor acts of personal revenge (mostly vandalism) to large-scale terrorism: bombing hoaxes, an actual bombing, and poisoning West London's drinking water. Shortly before he manages to bomb the House of Commons, he dies of cancer.
Christie compares himself to "Guy Fawkes, with the difference that he was caught" and strictly follows a code of twelve principles. The first principle, "I am a cell of one" (89), forbids him from discussing his actions with anyone else, not even with his few friends or with the Shrike, his beloved girlfriend.
Johnson scatters many metafictional elements throughout the novel, often for comedic effect. Characters frequently mention in passing that they know that they are works of fiction, such as when Malry's mother says to him that she has been his mother for the purposes of the novel (27), or when Christie complains that the novel contains too many exclamation marks (166). Johnson also frequently emphasizes the written, and thereby invented, nature of the text. Following Malry's poisoning of a reservoir, Johnson writes:
A total of just over twenty thousand people died of cyanide poisoning that morning. This was the first figure that came to hand as it is roughly the number of words of which the novel consists so far.
Be assured there are not many more, neither deaths nor words. (147)