I watched The Man From London. I enjoyed the drawn-out opening scene at the dock; the dance to the accordion with the chair & the billiard ball; & the man in the hat eating bony soup in the bar. I liked everything about it except the parts directly imported from Georges Simenon. Simenon always set my teeth on edge. As a teenager I wanted to get him in a corner & scream in his face, “I don’t fucking care what happens to these people!” I felt much the same about Alfred Hitchcock & Patricia Highsmith. Suspense defers narrative for the sake of it. To write suspense of that traditional, formalised kind is to play anxiety games with the reader based on values, identification & expectation. Suspense bored me because all I wanted to know was what happened, not what gluey, simplified, slow-motion psychological game it resolved; or what typical moral identifications & affiliations of my parents’ generation it was masturbating. I couldn’t make the necessary value judgements about the relationship between interior & exterior behaviour. I didn’t care enough about the ideological underpinning to feel pleasurable tension. Only a vast excruciating impatience.