One photograph. Four men. Hal Chase (no, me neither - but I do now), Jack Kerouac, Allen Ginsberg, William Burroughs. Apparently the only photograph of the three best-known members of the Beat Generation, all together at the same time.
But when was it taken? The last two weeks of January 1945? 20-23 December 1945? 20-24 February 1946? Last week of February 1947?
And where was it taken? New York? Manhattan? Morningside Heights? Columbia? Riverside Drive? Morningside Avenue? Morningside Drive? Upper West Side?
Oh, and who took the photograph? (All these questions are answered in One Shot, but no spoilers here).
‘I know what you’re thinking,’ writes Oliver Harris, ‘What! A whole book about this one snap that everybody already knows? He really has lost his mind, or at least all sense of perspective …’
Well yes, a whole book about that one snap, and what a joyous thing to do - and to read. (Full disclosure: Oliver used to be a neighbour of mine and we shared a lawnmower). One Shot: a beat generation mystery (Moloko Print, 2024) has been described as a detective story, which it surely is. Every detective story has its detective and every detective has their backstory (is an alcoholic, gay, likes classical music, has a chequered past, feeds stray cats, votes Labour, lost her leg in a powerboat accident) and Oliver has his too. Details are unnecessary; suffice to say that he wrote this book amid a series of personal troubles that would leave most of us unable to function at all, let alone obsess about the crease in the top left-hand corner of a photograph.
But maybe the crease in the photograph, the hats and coats the men wore, the direction of their gaze, The Thing that protrudes in front of Borroughs, the snow piled up in the photoshoot pictures, and the rabbit hole investigations prompted by each and every one of these details, is what helped him to get to the end of each day - ‘the only way I knew to keep my heart from breaking so that I could care for you while I endured my own personal trials and the agonies of Mariupol and Gaza’.
(Unlikely? By my lights, not at all, as I’ve done something similar myself).
So no, Oliver, I don’t at all think you wasted your time writing this book (p.207), and nor do I think I wasted my time reading it. Anything that helps us get to the end of the day in trying circumstances is fine by me, and anyway we all like a page-turner, which this truly is. Then there’s the minor point that you’ll have cemented your spot at the very summit of Beat/Burroughsian scholarship.
But there’s another reason why, even if you’re not for some weird reason interested in the provenance and meaning of a roughly 80-year old photograph, One Shot needs to be read: that quaint old thing called The Truth. When you see a photograph caption do you assume it’s telling the truth, especially if it’s in a book published by a reputable press? Yes, me too.
Well beware. Oliver’s caption database for the Group Picture contains 30 alternatives: ‘a chaotic confusion of impossible and alternative realities which is the exact antithesis of each individual’s caption’s apparently simple objective authority’ (p.77). If ever there was a metaphor for our post-truth, alternative facts age, it’s surely Oliver’s Group Picture caption database. And if we’re looking for an antidote metaphor it’s the whole of One Shot, dedicated as it is to reducing 30 captions to one - the right one. I imagine someone digging up One Shot centuries into the future, much like the denizens in Will Self’s Book of Dave, shocked at the revelation that amid the mendacious miasma of the early twentieth century there were still people who cared for facticity.
(I get this desire. Successive biographers of Mary Wollstonecraft, through force of repetition, have the date wrong for when she lived in the house of the 18th century Platonist Thomas Taylor. This will be put right soon - watch this space).
There’s no way the young researcher who stepped into the JFK International Arrivals Hall in October 1984 could have known that forty years later he’d have One Shot at shoring up both his life and a key legacy of the Enlightenment. But that’s what he’s done in this brilliant and brilliantly entertaining book. Read it, and enjoy!
PS If you want to read a proper review, there’s one here.