Jonathan Kemp‘s 26 is a series of bittersweet vignettes: perfect slices of agony and ecstacy, ‘visions of excess’ burning brightly beyond the civility of language and manners, taking us on a journey of t
ranscendence, of sexual gratification and drug-induced otherness.
Explicit and, often, disturbing, his scenes lead us into dark places in search of meaning, exploring our isolation and our need for connection, our yearning for intense physical experience and our desire for oblivion. Kemp celebrates the raw, terrifying beauty of sexuality, showing its capacity to ‘make and unmake the world’ and to ‘speak a different tongue’.
He explores the hunger we cannot explain and draws with tenderness love unrequited, misplaced, and abandoned: ‘The difference between what we want and what we are able to do emerges with the slow, poisonous crawl of grief.’
He gives us poignant fragments of lost love and intense eroticism, underpinned by the repeated theme of the limits of language to convey human feeling, and the role of the body in remembering its past. It is the pulsing archivist, memories ‘rippling beneath the skin’.
‘I wake to find your presence still alighting on my skin, a fragment of your warmth, the weight of you still pressing, and a blurred memory of the dream’s end.’
Kemp shows us physical sensation as another language, our desire to tear open and ‘release something monstrous and wild, from the other side of language’. He urges that language can only ‘play games of hide and seek with what is really going on’ and voices his longing for ‘a new tongue that licks closer to the contour of bodies’.
Yet, amidst this despair at the inadequacy of language is Kemp’s thread of richly satisfying poetic prose. His images and metaphors blaze.
‘This is for when the blood turns black and burns you from the inside, for when you get the hunger – feel it unravelling within its long, dark spine of want… This is for then, for those crystalline moments when your body moulds to your desires, contoured by the red heat of longing…’
Kemp has created a masterpiece, haunting, unsettling and erotically compelling, 
moving the reader emotionally, intellectually and viscerally, our hearts captured and broken alongside those of his anonymous protagonists.
He gives us the night folding up like a sheet of paper, sliding itself into memory, ‘to be unfolded and relived, recounted and treasured’. In ’26’, Kemp has created a book of night dreams, vivid imaginings and shadows, half-remembrances and images seared on the skin. These pages close but the emotions he stirs remain close-caught.
‘There are places only the night knows, places only shadows can show us… I walk… looking for something, looking for something, looking for something… Forgive me for not having the words to describe it, this place in which I dwell. I have tried, I have tried. I have drenched myself in words and sensations, seeking a way to make them speak to one another. This is all I have to offer.’
How do you describe a book which has such power to manipulate the reader, to draw so deep from the well that you discover yourself anew?
–EMMANUELLE DE MAUPASSANT
(Review published with permission from: emmanuelledemaupassant.com)
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