Lyanda Lynn Haupt’s Crow Planet was the highlight of my 2019 animal-themed summer reading. I admired her determination to incorporate wildlife-watching into everyday life, and appreciated her words on the human connection to and responsibility towards the rest of nature. Rooted, one of my most anticipated books of this year, continues in that vein, yet surprised me with its mystical approach. No doubt some will be put off by the spiritual standpoint and dismiss the author as a barefoot, tree-hugging hippie. Well, sign me up to Haupt’s team, because nature needs all the help it can get, and we know that people won’t save what they don’t love. Start to think about trees and animals as brothers and sisters – or even as part of the self – and actions that passively doom them, not to mention wanton destruction of habitat, will hit closer to home.
I hadn’t realized that Haupt grew up Catholic, so the language of mysticism comes easily to her, but even as a child nature was where she truly sensed transcendence. Down by the creek, where she listened to birdsong and watched the frog lifecycle, was where she learned that everything is connected. She even confessed her other church, “Frog Church” (this book’s original title), to her priest one day. (He humored her by assigning an extra Our Father.) How to reclaim that childhood feeling of connectedness as a busy, tech-addicted adult?
The Seattle-based Haupt engages in, and encourages, solo camping, barefoot walking, purposeful wandering, spending time sitting under trees, mindfulness, and going out in the dark. This might look countercultural, or even eccentric. Some will also feel called to teach, to protest, and to support environmental causes financially. Others will contribute their talent for music, writing, or the visual arts. But there are subtler changes to be made too, in our attitudes and the way we speak. A simple one is to watch how we refer to other species. “It” has no place in a creature-directed vocabulary.
Haupt’s perspective chimes with the ethos of the New Networks for Nature conference I attend each year, as well as with the work of many UK nature writers like Robert Macfarlane (in particular, she mentions The Lost Words) and Jini Reddy (Wanderland). I also found a fair amount of overlap with Lucy Jones’s Losing Eden. There were points where Haupt got a little abstract and even woo-woo for me – and I say that as someone with a religious background. But her passion won me over, and her book helped me to understand why two things that happened earlier this year – a fox dying in our backyard and neighbors having a big willow tree taken down – wounded me so deeply. That I felt each death throe and chainsaw cut as if in my own body wasn’t just me being sentimental and oversensitive. It was a reminder that I’m a part of all of life, and I must do more to protect it.
“In this time of planetary crisis, overwhelm is common. What to do? There is so much. Too much. No single human can work to save the orcas and the Amazon and organize protests to stop fracking and write poetry that inspires others to act and pray in a hermit’s dwelling for transformation and get dinner on the table. How easy it is to feel paralyzed by obligations. How easy it is to feel lost and insignificant and unable to know what is best, to feel adrift while yearning for purpose. Rootedness is a way of being in concert with the wilderness—and wildness—that sustains humans and all of life.”
“No one can do all things. Yet we can hold all things as we trim and change our lives and choose our particular forms of rooted, creative action—those that call uniquely to us.”
With thanks to Little, Brown Spark for sending a proof copy all the way from Boston, USA.
I think I have another seven April releases on the go that kind publishers have sent my way, but I’m so slow at finishing books that these two are the only ones I’ve managed so far. (I see lots of review catch-up posts in my future!) For now I have a travel memoir musing on the wonders of the New Forest and the injustice of land ownership policies, and a casebook of medical mysteries that can all be classed as culturally determined psychosomatic illnesses.
The Circling Sky: On Nature and Belonging in an Ancient Forest by Neil Ansell
After The Last Wilderness and especially Deep Country, his account of five solitary years in a Welsh cabin, Ansell is among my most-admired British nature writers. I was delighted to learn that his new book would be about the New Forest as it’s a place my Hampshire-raised husband and I have visited often and feel fond of. It has personal significance for Ansell, too: he grew up a few miles from Portsmouth. On Remembrance Sunday 1966, though, his family home burned down when a spark from a central heating wire sent the insulation up in flames. He can see how his life was shaped by this incident, making him a nomad who doesn’t accumulate possessions.
Hoping to reclaim a sense of ancestral connection, he returned to the New Forest some 30 times between January 2019 and January 2020, observing the unfolding seasons and the many uncommon and endemic species its miles house. The Forest has more than 1000 trees of over 400 years old, mostly oak and beech. Much of the rest is rare heath habitat, and livestock grazing maintains open areas. There are some plants only found in the New Forest, as well as a (probably extinct) cicada. He has close encounters with butterflies, a muntjac, and less-seen birds like the Dartford warbler, firecrest, goshawk, honey buzzard, and nightjar.
But this is no mere ‘white man goes for a walk’ travelogue, as much of modern nature writing has been belittled. Ansell weaves many different themes into the work: his personal story (mostly relevant, though his mother’s illness and a trip to Rwanda seemed less necessary), the shocking history of forced Gypsy relocation into forest compounds starting in the 1920s, biomass decline, and especially the unfairness of land ownership in Britain. More than 99% of the country is in the hands of a very few, and hardly any is left as common land. There is also enduring inequality of access to what little there is, often along race and class lines. The have-nots have been taught to envy the haves: “We are all brought up to aspire to home ownership,” Ansell notes. As a long-term renter, it’s a goal I’ve come to question, even as I crave the security and self-determination that owning a house and piece of land could offer.
Ansell speaks of “environmental dread” as a “rational response to the way the world is turning,” but he doesn’t rest in that mindset of despair. He’s in favour of rewilding, which is not, as some might assume, about leaving land alone to revert to its original state, but about the reintroduction of native species and intentional restoration of habitat types. In extending these rewilded swathes, we would combat the tendency to think of nature as something kept ‘over there’ in small reserves while subjecting the rest of the land to intensive, pesticide-based farming and the exploitation of resources. The New Forest thus strikes him as an excellent model of both wildlife-friendly land management and freedom of human access.
I appreciated how Ansell concludes that it’s not enough to simply love nature and write about the joy of spending time in it. Instead, he accepts a mantle of responsibility: “nothing is more political than the way we engage with the world around us. … Nature writing may often be read for comfort and reassurance, but perhaps we need to allow a little room for anger, too, for the ability to rage at everything that has been taken from us, and taken by us.” The bibliography couldn’t be more representative of my ecologist husband’s and my reading interests and nature library. The title is from John Clare and the book is a poetic meditation as well as a forthright argument. It also got me hankering for my next trip to the New Forest.
With thanks to Tinder Press for the proof copy for review.
The Sleeping Beauties: And Other Stories of Mystery Illness by Suzanne O’Sullivan
O’Sullivan is a consultant at the National Hospital for Neurology and Neurosurgery. She won the Wellcome Book Prize for It’s All in Your Head, and The Sleeping Beauties picks up on that earlier book’s theme of psychosomatic illness – with the key difference being that this one travels around the world to investigate outbreaks of mass hysteria or sickness that have arisen in particular cultural contexts. An important thing to bear in mind is that O’Sullivan and other doctors in her field are not dismissing these illnesses as “fake”; they acknowledge that they are real and meaningful, yet there is clear evidence that they are not physical in origin – brain tests come back normal – but psychological with bodily manifestations.
The case that gives the book its title appeared in Sweden in 2017. Child asylum seekers who had experienced trauma in their home country were falling into a catatonic state. O’Sullivan visited the home of sisters Nola and Helan, part of the Yazidi ethnic minority group from Iraq and Syria. The link between them and the other children affected was that they were all now threatened with deportation: Their hopelessness had taken on physical form, giving the illness the name resignation syndrome. “Predictive coding” meant their bodies did as they expected them to. She describes it as “a very effective culturally agreed means of expressing distress.”
In Texas, the author meets Miskito people from Nicaragua who combat the convulsions and hallucinations of “grisi siknis” in their community with herbs and prayers; shamans are of more use in this circumstance than antiepileptic drugs. A sleeping sickness tore through two neighbouring towns of Kazakhstan between 2010 and 2015, affecting nearly half of the population. As with the refugee children in Sweden, it was a stress response to being forced to move away – though people argued they were being poisoned by a local uranium mine. There is often a specific external factor that is blamed in these situations, as when mass hysteria and seizures among Colombian schoolgirls were attributed to the HPV vaccine.
This book was released on the 1st of April, and at times I felt I was the victim of an elaborate April Fool’s joke: the cases are just so bizarre, and we’re used to rooting out a physical cause. But she makes clear that, in a biopsychosocial understanding (as also discussed in Pain by Abdul-Ghaaliq Lalkhen), these illnesses are serving “a vital purpose” – just psychological and cultural. The first three chapters are the strongest; the book feels repetitive and somewhat aimless thereafter, especially in Chapter 4, which hops between different historical outbreaks of psychosomatic illness, like among the Hmong (cf. Anne Fadiman’s The Spirit Catches You and You Fall Down), and other patients she treated for functional disorders. The later example of “Havana syndrome” doesn’t add enough to warrant its inclusion.
Still, O’Sullivan does well to combine her interviews and travels into compelling mini-narratives. Her writing has really come on in leaps and bounds since her first book, which I found clunky. However, much my favourite of her three works is Brainstorm, about epilepsy and other seizure disorders of various origins.
With thanks to Picador for the proof copy for review.
What recent releases can you recommend?
It’s been a gorgeously sunny spring here – how about where you are? Although there have still been some frosty nights troubling the gardeners among us, it’s been warm in the daytime and the flowers and blossom are coming on apace.
Recently I’ve read a couple of books reflecting on the spring of 2020, specifically the opportunities it offered to reconnect with local nature at a time when we were isolated and couldn’t travel.
I’ve also been feeling nostalgic for Washington, D.C. and the Maryland suburbs, where I grew up. It’s been two years since my last trip back, but I’m holding out hope that I can make it over in June for a family wedding.
Rounding out my selection of “Spring” titles is an offbeat Japanese novella.
Looking back to the coronavirus spring:
On Thursday evening I watched “The Act of Nature Watching,” a special Earth Day Zoom talk for West Berkshire Libraries by local nature writer Nicola Chester, whose memoir is coming out in the autumn. The UK is one of the most nature-depleted countries, she lamented. We are hardwired to watch and love nature, she noted, yet have never been more alienated from it. Reading from her columns and anthology contributions (as well as the Lovatt, below) and giving tips on recognizing birdsong and mammal signs, she spoke of nature-watching as a form of mindfulness – an approach that chimed with the first three books I feature here.
Birdsong in a Time of Silence: An Awakening by Steven Lovatt (2021)
During the UK’s first lockdown, with planes grounded and cars stationary, many remarked on the quiet. All the better to hear birds going about their usual spring activities. For Lovatt, from Birmingham and now based in South Wales, it was the excuse he needed to return to his childhood birdwatching hobby. In between accounts of his spring walks, he tells lively stories of common birds’ anatomy, diet, lifecycle, migration routes, and vocalizations. (He even gives step-by-step instructions for sounding like a magpie.) Birdsong takes him back to childhood, but feels deeper than that: a cultural memory that enters into our poetry and will be lost forever if we allow our declining bird species to continue on the same trajectory.
Mentions of current events are sparse and subtle, so the spring feels timeless, as it should. I worried there might be too much overlap with A Sweet, Wild Note by Richard Smyth, but there’s room for both on your shelf. Lovatt’s writing is introspective and poetic, delighting in metaphors for sounds: “The song of a turtle dove is like the aural equivalent of a heat-haze, the gentlest corrugation of air, always just on the edge of your hearing.”
Skylarks with Rosie: A Somerset Spring by Stephen Moss (2021)
Lovatt must have been a pupil of Moss’s on the Bath Spa University MA degree in Travel and Nature Writing. The prolific Moss’s latest also reflects on the spring of 2020, but in a more overt diary format. Devoting one chapter to each of the 13 weeks of the first lockdown, he traces the season’s development alongside his family’s experiences and the national news. With four of his children at home, along with one of their partners and a convalescing friend, it’s a pleasingly full house. There are daily cycles or walks around “the loop,” a three-mile circuit from their front door, often with Rosie the Labrador; there are also jaunts to corners of the nearby Avalon Marshes. Nature also comes to him, with songbirds in the garden hedges and various birds of prey flying over during their 11:00 coffee breaks.
His speaking engagements and trips cancelled, Moss turns to online events instead. Twitter serves as a place for sharing outrage over UK politics and world events like George Floyd’s murder, but also as a welcoming community for sharing nature sightings. As the lockdown come to a close, he realizes that this time has had unexpected benefits: “Having to press the pause button … has made me rethink my life, in a good way.” He feels that, for once, he has truly appreciated the spring, “rediscovering the joys of wildlife-watching close to home”. This made for perfect reading in Somerset last week.
Also recommended: The Consolation of Nature by Marren, McCarthy and Mynott
Remembering springs back home:
Spring in Washington by Louis J. Halle (1947)
“The discovery of spring each year, after the winter’s hibernation, is like a rediscovery of the universe … knowledge of spring gives me the freedom of the world.”
For Halle, who worked in the State Department, nature was an antidote to hours spent shuffling papers behind a desk. In this spring of 1945, there was plenty of wildfowl to see in central D.C. itself, but he also took long early morning bike rides along the Potomac or the C&O Canal, or in Rock Creek Park. From first migrant in February to last in June, he traces the spring mostly through the birds that he sees. More so than the specific observations of familiar places, though, I valued the philosophical outlook that makes Halle a forerunner of writers like Barry Lopez and Peter Matthiessen. He notes that those caught up in the rat race adapt the world to their comfort and convenience, prizing technology and manmade tidiness over natural wonders. By contrast, he feels he sees more clearly – literally as well as metaphorically – when he takes the long view of a landscape.
I marked so many passages of beautiful description. Halle had mastered the art of noticing. But he also sounds a premonitory note, one that was ahead of its time in the 1940s and needs heeding now more than ever: “When I see men able to pass by such a shining and miraculous thing as this Cape May warbler, the very distillate of life, and then marvel at the internal-combustion engine, I think we had all better make ourselves ready for another Flood.”
This was a lucky find at Hay Cinema Bookshop back in September. For me it was the ideal combination of thoughtful prose and vicarious travel, though I imagine it might not mean as much to those without a local connection. The black-and-white in-text illustrations by Francis L. Jaques are a particularly nice addition.
Pussy cat, pussy cat, where have you been? I’ve been to Washington, and guess what I’ve seen… by Russell Punter and Dan Taylor (2019)
More cherry blossoms over tourist landmarks! This is part of a children’s series inspired by the 1805 English rhyme about London; other volumes visit New York City, Paris, and Rome. In rhyming couplets, he takes us from the White House to the Lincoln Memorial via all the other key sights of the Mall and further afield: museums and monuments, the Library of Congress, the National Cathedral, Arlington Cemetery, even somewhere I’ve never been – Theodore Roosevelt Island. Realism and whimsy (a kid-sized cat) together; lots of diversity in the crowd scenes. What’s not to like? (Titled Kitty cat, kitty cat… in the USA.)
And, as a bonus, some fiction in translation:
Spring Garden by Tomoka Shibasaki (2014; 2017)
[Translated from the Japanese by Polly Barton]
Like a Murakami protagonist, Taro is a divorced man in his thirties, mildly interested in the sometimes peculiar goings-on in his vicinity. Rumor has it that his Tokyo apartment complex will be torn down soon, but for now the PR manager is happy enough here. “Avoiding bother was Taro’s governing principle.” But bother comes to find him in the form of a neighbor, Nishi, who is obsessed with a nearby house that was the backdrop for the art book Spring Garden, a collection of photographs of a married couple’s life. Her enthusiasm gradually draws Taro into the depicted existence of the TV commercial director and actress who lived there 25 years ago, as well as the young family who live there now. This Akutagawa Prize winner failed to hold my interest – like The Guest Cat, it’s oddly preoccupied with architectural detail, a Japanese fascination that doesn’t translate so well.
Have you been reading anything particularly appropriate for spring this year?
I found a lesser-known Yates novel on my last trip to our local charity warehouse and saved it up for the titular holiday. I also remembered about a half-read theology book I’d packed away with the decorative wooden Easter egg and tin with a rabbit on in the holiday stash behind the spare room bed. And speaking of rabbits…
The Easter Parade by Richard Yates (1976)
Yates sets out his stall with the first line: “Neither of the Grimes sisters would have a happy life, and looking back, it always seemed that the trouble began with their parents’ divorce.” I’d seen the film of Revolutionary Road, and my impression of Yates’s work was confirmed by this first taste of his fiction: an atmosphere of mid-century (sub)urban ennui, with the twin ills of alcoholism and adultery causing the characters to drift inexorably towards tragedy.
The novel follows Sarah and Emily Grimes from the 1930s to the 1970s. Emily, four years younger, has always known that her sister is the pretty one. Twenty-year-old Sarah is tapped to model traditional Chinese dress during an Easter parade and be photographed by the public relations office of United China Relief, for whom she works in fundraising. Sarah had plans with her fiancé, Tony Wilson, and is unenthusiastic about taking part in the photo shoot, while Emily thinks what she wouldn’t give to appear in the New York Times.
The mild rivalry resurfaces in the years to come, though the sisters take different paths: Sarah marries Tony, has three sons, and moves to the Wilson family home out on Long Island; in New York City, Emily keeps up an unending stream of lovers and English-major jobs: bookstore clerk, librarian, journal editor, and ad agency copywriter. Sarah envies Emily’s ability to live as a free spirit, while Emily wishes she could have Sarah’s loving family home – until she learns that it’s not as idyllic as it appears.
What I found most tragic wasn’t the whiskey-soused poor decisions so much as the fact that both sisters have unrealized ambitions as writers. They long to follow in their headline-writing father’s footsteps: Emily starts composing a personal exposé on abortion, and later a witty travel guide to the Midwest when she accompanies a poet boyfriend to Iowa so he can teach in the Writers’ Workshop; Sarah makes a capable start on a book about the Wilson family history. But both allow their projects to wither, and their promise is unfulfilled.
Yates’s authentic characterization, forthright prose, and incisive observations on the futility of modern life and the ways we choose to numb ourselves kept this from getting too depressing – though I don’t mind bleak books. Much of the novel sticks close to Emily, who can, infuriatingly, be her own worst enemy. Yet the ending offers her the hand of grace in the form of her nephew Peter, a minister. I read the beautiful final paragraphs again and again.
A readalike I’ve reviewed (sisters, one named Sarah!): A Summer Bird-Cage by Margaret Drabble
The Way of the Cross by Richard Holloway (1986)
Each year the Archbishop of Canterbury commissions a short book for the Anglican Communion to use as Lenten reading. This study of the crucifixion focuses on seven of the Stations of the Cross, which are depicted in paintings or sculptures in most Anglo-Catholic churches, and emphasizes Jesus’s humble submission and the irony that the expected Son of God came as an executed criminal rather than an exalted king. Holloway weaves scripture passages and literary quotations through each chapter, and via discussion questions encourages readers to apply the themes of power, envy, sin, and the treatment of women to everyday life – not always entirely naturally, and the book does feel dated. Not a stand-out from a prolific author I’ve enjoyed in the past (e.g., Waiting for the Last Bus).
“the yearly remembrance of the life of Christ is a way of actualizing and making that life present now, in the universal mode of sacramental reality.”
“Powerlessness is the message of the cross”
Recently read for book club; I’ll throw it in here for its dubious thematic significance (the protagonist starts off as an innocently blasphemous child and, disappointed with God as she’s encountered him thus far, gives that name to her pet rabbit):
When God Was a Rabbit by Sarah Winman (2011)
I’d enjoyed Winman’s 2017 Tin Man so was very disappointed with this one. You can tell it was a debut novel because she really threw the kitchen sink in when it comes to quirkiness and magic realism. Secondary characters manage to be more engaging than the primary ones though they are little more than a thumbnail description: the lesbian actress aunt, the camp old lodger, etc. I also hate the use of 9/11 as a plot device, something I have encountered several times in the last couple of years, and stupid names like Jenny Penny. Really, the second part of this novel just feels like a rehearsal for Tin Man in that it sets up a close relationship between two gay men and a woman.
Two major themes, generally speaking, are intuition and trauma: characters predict things that they couldn’t know by ordinary means, and have had some awful things happen to them. Some bottle it all up, only for it to explode later in life; others decide not to let childhood trauma define them. This is a worthy topic, certainly, but feels at odds with the carefully cultivated lighthearted tone. Winman repeatedly introduces something sweet or hopeful only to undercut it with a tragic turn of events.
The title phrase comes from a moment of pure nostalgia for childhood, and I think the novel may have been better if it had limited itself to that rather than trying to follow all the characters into later life and sprawling over nearly 40 years. Ultimately, I didn’t feel that I knew much about Elly, the narrator, or what makes her tick, and Joe and Jenny Penny almost detract from each other. Pick one or the other, brother or best friend, to be the protagonist’s mainstay; both was unnecessary.
Three novels that range in tone from carnal allegorical excess to quiet, bittersweet reflection via low-key menace; and essays about keeping the faith in the most turbulent of times.
Milk Fed by Melissa Broder
Rachel’s body and mommy issues are major and intertwined: she takes calorie counting and exercise to an extreme, and her therapist has suggested that she take a 90-day break from contact with her overbearing mother. Her workdays at a Hollywood talent management agency are punctuated by carefully regimented meals, one of them a 16-ounce serving of fat-free frozen yogurt from a shop run by Orthodox Jews. One day it’s not the usual teenage boy behind the counter, but his overweight older sister, Miriam. Miriam makes Rachel elaborate sundaes instead of her usual abstemious cups and Rachel lets herself eat them even though it throws her whole diet off. She realizes she’s attracted to Miriam, who comes to fill the bisexual Rachel’s fantasies, and they strike up a tentative relationship over Chinese food and classic film dates as well as Shabbat dinners at Miriam’s family home.
If you’re familiar with The Pisces, Broder’s Women’s Prize-longlisted debut, you should recognize the pattern here: a deep exploration of wish fulfilment and psychological roles, wrapped up in a sarcastic and sexually explicit narrative. Fat becomes not something to fear but a source of comfort; desire for food and for the female body go hand in hand. Rachel says, “It felt like a miracle to be able to eat what I desired, not more or less than that. It was shocking, as though my body somehow knew what to do and what not to do—if only I let it.”
With the help of her therapist, a rabbi that appears in her dreams, and the recurring metaphor of the golem, Rachel starts to grasp the necessity of mothering herself and becoming the shaper of her own life. I was uneasy that Miriam, like Theo in The Pisces, might come to feel more instrumental than real, but overall this was an enjoyable novel that brings together its disparate subjects convincingly. (But is it hot or smutty? You tell me.)
With thanks to Bloomsbury for the proof copy for review.
Unsettled Ground by Claire Fuller
At a glance, the cover for Fuller’s fourth novel seems to host a riot of luscious flowers and fruit, but look closer and you’ll see the daisies are withering and the grapes rotting; there’s a worm exiting the apple and flies are overseeing the decomposition. Just as the image slowly reveals signs of decay, Fuller’s novel gradually unveils the drawbacks of its secluded village setting. Jeanie and Julius Seeder, 51-year-old twins, lived with their mother, Dot, until she was felled by a stroke. They’d always been content with a circumscribed, self-sufficient existence, but now their whole way of life is called into question. Their mother’s rent-free arrangement with the landowners, the Rawsons, falls through, and the cash they keep in a biscuit tin in the cottage comes nowhere close to covering her debts, let alone a funeral.
During the Zoom book launch event, Fuller confessed that she’s “incapable of writing a happy novel,” so consider that your warning of how bleak things will get for her protagonists – though by the end there are pinpricks of returning hope. Before then, though, readers navigate an unrelenting spiral of rural poverty and bad luck, exacerbated by illiteracy and the greed and unkindness of others. One of Fuller’s strengths is creating atmosphere, and there are many images and details here that build the picture of isolation and pathos, such as a piano marooned halfway to a derelict caravan along a forest track and Jeanie having to count pennies so carefully that she must choose between toilet paper and dish soap at the shop.
Unsettled Ground is set in a fictional North Wessex Downs village not far from where I live. I loved spotting references to local places and to folk music – Jeanie and Julius might not have book smarts or successful careers, but they inherited Dot’s love of music and when they pick up a fiddle and guitar they tune in to the ancient magic of storytelling. Much of the novel is from Jeanie’s perspective and she makes for an out-of-the-ordinary yet relatable POV character. I found the novel heavy on exposition, which somewhat slowed my progress through it, but it’s comparable to Fuller’s other work in that it focuses on family secrets, unusual states of mind, and threatening situations. She’s rapidly become one of my favourite contemporary novelists, and I’d recommend this to you if you’ve liked her other work or Fiona Mozley’s Elmet.
With thanks to Penguin Fig Tree for the proof copy for review.
Dusk, Night, Dawn: On Revival and Courage by Anne Lamott
These are Lamott’s best new essays (if you don’t count Small Victories, which reprinted some of her greatest hits) in nearly a decade. The book is a fitting follow-up to 2018’s Almost Everything in that it tackles the same central theme: how to have hope in God and in other people even when the news – Trump, Covid, and climate breakdown – only heralds the worst.
One key thing that has changed in Lamott’s life since her last book is getting married for the first time, in her mid-sixties, to a Buddhist. “How’s married life?” people can’t seem to resist asking her. In thinking of marriage she writes about love and friendship, constancy and forgiveness, none of which comes easy. Her neurotic nature flares up every now and again, but Neal helps to talk her down. Fragments of her early family life come back as she considers all her parents were up against and concludes that they did their best (“How paltry and blocked our family love was, how narrow the bandwidth of my parents’ spiritual lives”).
Opportunities for maintaining quiet faith in spite of the circumstances arise all the time for her, whether it’s a variety show that feels like it will never end, a four-day power cut in California, the kitten inexplicably going missing, or young people taking to the streets to protest about the climate crisis they’re inheriting. A short postscript entitled “Covid College” gives thanks for “the blessings of COVID: we became more reflective, more contemplative.”
The prose and anecdotes feel fresher here than in several of the author’s other recent books. I highlighted quote after quote on my Kindle. Some of these essays will be well worth rereading and deserve to become classics in the Lamott canon, especially “Soul Lather,” “Snail Hymn,” “Light Breezes,” and “One Winged Love.”
I read an advanced digital review copy via NetGalley. Available from Riverhead in the USA and SPCK in the UK.
Brood by Jackie Polzin
Polzin’s debut novel is a quietly touching story of a woman in the Midwest raising chickens and coming to terms with the shape of her life. The unnamed narrator is Everywoman and no one at the same time. As in recent autofiction by Rachel Cusk and Sigrid Nunez, readers find observations of other people (and animals), a record of their behaviour and words; facts about the narrator herself are few and far between, though it is possible to gradually piece together a backstory for her. At one point she reveals, with no fanfare, that she miscarried four months into pregnancy in the bathroom of one of the houses she cleans. There is a bittersweet tone to this short work. It’s a low-key, genuine portrait of life in the in-between stages and how it can be affected by fate or by other people’s decisions.
See my full review at BookBrowse. I was also lucky enough to do an interview with the author.
I read an advanced digital review copy via Edelweiss. Available from Doubleday in the USA. To be released in the UK by Picador tomorrow, April 1st.
What recent releases can you recommend?
I’ve nearly managed to read the whole Rathbones Folio Prize shortlist before the prize is announced on the evening of Wednesday the 24th. (You can sign up to watch the online ceremony here.) I reviewed the Baume and Ní Ghríofa as part of a Reading Ireland Month post on Saturday, and I’d reviewed the Machado last year in a feature on out-of-the-ordinary memoirs. This left another five books. Because they were short, I’ve been able to read and/or review another four over the past couple of weeks. (The only one unread is As You Were by Elaine Feeney, which I made a false start on last year and didn’t get a chance to try again.)
Nominations come from the Folio Academy, an international group of writers and critics, so the shortlisted authors have been chosen by an audience of their peers. Indeed, I kept spotting judges’ or fellow nominees’ names in the books’ acknowledgements or blurbs. I tried to think about the eight as a whole and generalize about what the judges were impressed by. This was difficult for such a varied set of books, but I picked out two unifying factors: A distinctive voice, often with a musicality of language – even the books that don’t include poetry per se are attentive to word choice; and timeliness of theme yet timelessness of experience.
Poor by Caleb Femi
Femi brings his South London housing estate to life through poetry and photographs. This is a place where young Black men get stopped by the police for any reason or none, where new trainers are a status symbol, where boys’ arrogant or seductive posturing hides fear. Everyone has fallen comrades, and things like looting make sense when they’re the only way to protest (“nothing was said about the maddening of grief. Nothing was said about loss & how people take and take to fill the void of who’s no longer there”). The poems range from couplets to prose paragraphs and are full of slang, Caribbean patois, and biblical patterns. I particularly liked Part V, modelled on scripture with its genealogical “begats” and a handful of portraits:
The Story of Ruthless
Anyone smart enough
to study the food chain
of the estate knew exactly
who this warrior girl was;
once she lined eight boys
up against a wall,
emptied their pockets.
Nobody laughed at the boys.
Another that stood out for me was the two-part “A Designer Talks of Home / A Resident Talks of Home,” a found poem partially constructed from dialogue from a Netflix documentary on interior design. It ironically contrasts airy aesthetic notions with survival in a concrete wasteland. If you loved Surge by Jay Bernard, this should be next on your list.
My Darling from the Lions by Rachel Long
I first read this when it was on the Costa Awards shortlist. As in Femi’s collection, race, sex, and religion come into play. The focus is on memories of coming of age, with the voice sometimes a girl’s and sometimes a grown woman’s. Her course veers between innocence and hazard. She must make her way beyond the world’s either/or distinctions and figure out how to be multiple people at once (biracial, bisexual). Her Black mother is a forceful presence; “Red Hoover” is a funny account of trying to date a Nigerian man to please her mother. Much of the rest of the book failed to click with me, but the experience of poetry is so subjective that I find it hard to give any specific reasons why that’s the case.
The Mermaid of Black Conch by Monique Roffey
After the two poetry entries on the shortlist, it’s on to a book that, like A Ghost in the Throat, incorporates poetry in a playful but often dark narrative. In 1976, two competitive American fishermen, a father-and-son pair down from Florida, catch a mermaid off of the fictional Caribbean island of Black Conch. Like trophy hunters, the men take photos with her; they feel a mixture of repulsion and sexual attraction. Is she a fish, or an object of desire? In the recent past, David Baptiste recalls what happened next through his journal entries. He kept the mermaid, Aycayia, in his bathtub and she gradually shed her tail and turned back into a Taino indigenous woman covered in tattoos and fond of fruit. Her people were murdered and abused, and the curse that was placed on her runs deep, threatening to overtake her even as she falls in love with David. This reminded me of Ernest Hemingway’s The Old Man and the Sea and Lydia Millet’s Mermaids in Paradise. I loved that Aycayia’s testimony was delivered in poetry, but this short, magical story came and went without leaving any impression on me.
Indelicacy by Amina Cain
Having heard that this was about a cleaner at an art museum, I expected it to be a readalike of Asunder by Chloe Aridjis, a beautifully understated tale of ghostly perils faced by a guard at London’s National Gallery. Indelicacy is more fable-like. Vitória’s life is in two halves: when she worked at the museum and had to forego meals to buy new things, versus after she met her rich husband and became a writer. Increasingly dissatisfied with her marriage, she then comes up with an escape plot involving her hostile maid. Meanwhile, she makes friends with a younger ballet student and keeps in touch with her fellow cleaner, Antoinette, a pregnant newlywed. Vitória tries sex and drugs to make her feel something. Refusing to eat meat and trying to persuade Antoinette not to baptize her baby become her peculiar twin campaigns.
The novella belongs to no specific time or place; while Cain lives in Los Angeles, this most closely resembles ‘wan husks’ of European autofiction in translation. Vitória issues pretentious statements as flat as the painting style she claims to love. Some are so ridiculous they end up being (perhaps unintentionally) funny: “We weren’t different from the cucumber, the melon, the lettuce, the apple. Not really.” The book’s most extraordinary passage is her husband’s rambling, defensive monologue, which includes the lines “You’re like an old piece of pie I can’t throw away, a very good pie. But I rescued you.”
It seems this has been received as a feminist story, a cheeky parable of what happens when a woman needs a room of her own but is trapped by her social class. When I read in the Acknowledgements that Cain took lines and character names from Octavia E. Butler, Jean Genet, Clarice Lispector, and Jean Rhys, I felt cheated, as if the author had been engaged in a self-indulgent writing exercise. This was the shortlisted book I was most excited to read, yet ended up being the biggest disappointment.
On the whole, the Folio shortlist ended up not being particularly to my taste this year, but I can, at least to an extent, appreciate why these eight books were considered worthy of celebration. The authors are “writers’ writers” for sure, though in some cases that means they may fail to connect with readers. There was, however, some crossover this year with some more populist prizes like the Costa Awards (Roffey won the overall Costa Book of the Year).
The crystal-clear winner for me is In the Dream House by Carmen Maria Machado, her memoir of an abusive same-sex relationship. Written in the second person and in short sections that examine her memories from different angles, it’s a masterpiece and a real game changer for the genre – which I’m sure is just what the judges are looking for.
The only book on the shortlist that came anywhere close to this one, for me, was A Ghost in the Throat by Doireann Ní Ghríofa, an elegant piece of feminist autofiction that weaves in biography, imagination, and poetry. It would be a fine runner-up choice.
(On the Rathbones Folio Prize Twitter account, you will find lots of additional goodies like links to related articles and interviews, and videos with short readings from each author.)
My thanks to the publishers and FMcM Associates for the free copies for review.
Reading Ireland Month is hosted each March by Cathy of 746 Books. This year I read works by four Irish women: a meditation on birds and craft, hard-hitting poems about body issues, autofiction that incorporates biography and translation to consider the shape of women’s lives across the centuries, and a novel that jets between Hong Kong and Scotland. Two of these were sent to me as part of the Rathbones Folio Prize shortlist. I have some Irish music lined up to listen to (Hallow by Duke Special, At Swim by Lisa Hannigan, Chop Chop by Bell X1, Magnetic North by Iain Archer) and I’m ready to tell you all about these four books.
handiwork by Sara Baume (2020)
Back in February 2016, I reviewed Baume’s debut novel, Spill Simmer Falter Wither, for Third Way magazine. A dark story of a middle-aged loner and his adopted dog setting off on a peculiar road trip, it was full of careful nature imagery. “I’ve always noticed the smallest, quietest things,” the narrator, Ray, states. The same might be said of Baume, who is a visual artist as well as an author and put together this gently illuminating book over the course of 2018, at the same time as she was working on several sculptural installations. In short sections of a paragraph or two, or sometimes no more than a line, she describes her daily routines in her home workspaces: in the morning she listens to barely audible talk radio as she writes, while the afternoons are for carving and painting.
Working with her hands is a family tradition passed down from her grandfather and father, who died in the recent past – of lung cancer from particles he was exposed to at the sandstone quarry where he worked. Baume has a sense of responsibility for how she spends her time and materials. Concern about waste is at odds with a drive for perfection: she discarded her first 100 plaster birds before she was happy with the series used to illustrate this volume. Snippets of craft theory, family memories, and trivia about bird migration and behaviour are interspersed with musings on what she makes. The joy of holding a physical object in the hand somehow outweighs that of having committed virtual words to a hard drive.
Despite the occasional lovely line, this scattered set of reflections doesn’t hang together. The bird facts, in particular, feel shoehorned in for symbolism, as in Colum McCann’s Apeirogon. It’s a shame, as from the blurb I thought this book couldn’t be better suited to my tastes. Ultimately, as with Spill, Baume’s prose doesn’t spark much for me.
“Most of the time spent making is spent, in fact, in the approach.”
“I must stop once the boredom becomes intolerable, knowing that if I plunge on past this point I will risk arriving at resentment”
“What we all shared – me, my dad, his dad – was a suspicion of modern life, a loathing of fashion, a disappointment with the new technologies and a preference for the ad hoc contraptions of the past”
“The glorious, crushing, ridiculous repetition of life.”
With thanks to Tramp Press and FMcM Associates for the free copy for review. handiwork is on the Rathbones Folio Prize shortlist.
Eat or We Both Starve by Victoria Kennefick (2021)
This audacious debut collection of fleshly poems is the best I’ve come across so far this year. The body is presented as a battleground: for the brain cancer that takes the poet’s father; for disordered eating that entwines with mummy issues; for the restructuring of pregnancy. Families break apart and fuse into new formations. Cannibalism and famine metaphors dredge up emotional states and religious doctrines.
Where did I start?
Yes, with the heart, enlarged,
its chambers stretched through caring.
Oh is it in defiance or defeat, I don’t know,
I eat it anyway, raw, still warm.
The size of my fist, I love it.
(from the opening poem, “Learning to Eat My Mother, where My Mother Is the Teacher”)
Meat avoidance goes beyond principled vegetarianism to become a phobia. Like the female saints, the speaker will deny herself until she achieves spiritual enlightenment.
The therapist taps my shoulders, my head, my knees,
tells me I was a nun once, very strict.
This makes sense; I know how cleanly I like
to punish myself.
(from “Alternative Medicine”)
The title phrase comes from “Open Your Mouth,” in which the god Krishna, as a toddler, nourishes his mother with clay. A child feeding its mother reverses the expected situation, which is described in one of the book’s most striking poems, “Researching the Irish Famine.” The site of an old workhouse divulges buried horrors: “Mothers exhausted their own bodies / to produce milk. […] The starving / human / literally / consumes / itself.”
Corpses and meals; body odour and graves. There’s a pleasingly morbid cast to this collection, but it also has its lighter moments: the sexy “Paris Syndrome,” the low-stakes anxiety over pleasing one’s mother in “Guest Room,” and the playful closer, “Prayer to Audrey Hepburn” (“O Blessed Audrey of the feline eye-flick, jutting / bones, slim-hipped androgyny of war-time rationing”). Rich with imagery and alliteration, this is just my kind of poetry. Verse readalikes would include The Air Year by Caroline Bird, Flèche by Mary Jean Chan, and Tongues of Fire by Seán Hewitt, while in prose I was also reminded of Milk Fed by Melissa Broder (review coming soon) and Sanatorium by Abi Palmer.
With thanks to Carcanet Press for the free copy for review. This comes out on the 25th.
A Ghost in the Throat by Doireann Ní Ghríofa (2020)
“This is a female text.” In an elegant loop, Ní Ghríofa begins and ends with this line, and uses it as a refrain throughout. What is the text? It is this book, yes, as well as the 18th-century Irish-language poem that becomes an obsession for the author/narrator, “The Keen for Art Ó Laoghaire” by Eibhlín Dubh Ní Chonaill; however, it is also the female body, its milk and blood just as significant for storytelling as any ink.
Because the protagonist’s name is the same as the author’s, I took her experiences at face value. As the narrative opens in 2012, Ní Ghríofa and her husband have three young sons and life for her is a list of repetitive household tasks that must be completed each day. She donates pumped breast milk for premature babies as a karmic contribution to the universe: something she can control when so much around her she feels she can’t, like frequent evictions and another pregnancy. Reading Eibhlín Dubh’s lament for her murdered husband, contemplating a new translation of it, and recreating her life from paltry archival fragments: these tasks broaden her life and give an intellectual component to complement the bodily one.
My weeks are decanted between the twin forces of milk and text, weeks that soon pour into months, and then into years. I make myself a life in which whenever I let myself sit, it is to emit pale syllables of milk, while sipping my own dark sustenance from ink. […] I skitter through chaotic mornings of laundry and lunchboxes and immunisations, always anticipating my next session at the breast-pump, because this is as close as I get to a rest. To sit and read while bound to my insatiable machine is to leave my lists behind and stroll instead through doors opened by Eibhlín Dubh.
Ní Ghríofa remembers other times in her life in an impressionistic stream: starting a premed course at university, bad behaviour that culminated in suicidal ideation, a near-collision on a highway, her daughter’s birth by emergency C-section, finally buying a house and making it a home by adopting a stray kitten and planting a bee-friendly garden. You can tell from the precision of her words that Ní Ghríofa started off as a poet, and I loved how she writes about her own life. I had little interest in Eibhlín Dubh’s story, but maybe it’s enough for her to be an example of women “cast once more in the periphery of men’s lives.” It’s a book about women’s labour – physical and emotional – and the traces of it that remain. I recommend it alongside I Am, I Am, I Am by Maggie O’Farrell and Mother Ship by Francesca Segal.
With thanks to Tramp Press and FMcM Associates for the free copy for review. A Ghost in the Throat is on the Rathbones Folio Prize shortlist.
The Distance Between Us by Maggie O’Farrell (2004)
This is the earliest work of O’Farrell’s that I’ve read – it was her third novel, following After You’d Gone and My Lover’s Lover (I finally found those two at a charity shop last year and I’m saving them for a rainy day). It took me a long time to get into this one. It’s delivered in bitty sections that race between characters and situations, not generally in chronological order. It’s not until nearly the halfway point that you get a sense of how it all fits together.
Although there are many secondary characters, the two main strands belong to Jake, a young white filmmaker raised in Hong Kong by a bohemian mother, and Stella, a Scottish-Italian radio broadcaster. When a Chinese New Year celebration turns into a stampede, Jake and his girlfriend narrowly escape disaster and rush into a commitment he’s not ready for. In the meantime, Stella gets spooked by a traumatic flash from her childhood and flees London for a remote Scottish hotel. She’s very close to her older sister, Nina, who was deathly ill as a child (O’Farrell inserts a scene I was familiar with from I Am, I Am, I Am, when she heard a nurse outside her room chiding a noisy visitor, “There’s a little girl dying in there”), but now it’s Nina who will have to convince Stella to take the chance at happiness that life is offering.
In the end, this felt like a rehearsal for This Must Be the Place; it has the myriad settings (e.g., here, Italy, Wales and New Zealand are also mentioned) but not the emotional heft. With a setup like this, you sort of know where things are going, don’t you? Despite Stella’s awful secret, she is as flat a character as Jake. Simple boy-meets-girl story lines don’t hold a lot of appeal for me now, if they ever did. Still, the second half was a great ride.
Also, I’ve tried twice over the past year, but couldn’t get further than page 80 in The Wild Laughter by Caoilinn Hughes (2020), a black comedy about two brothers whose farmer father goes bankrupt and gets a terminal diagnosis. It’s a strangely masculine book (though in some particulars very similar to Scenes of a Graphic Nature) and I found little to latch on to. This was a disappointment as I’d very much enjoyed Hughes’s debut, Orchid & the Wasp, and this second novel is now on the Dylan Thomas Prize longlist.
What have you been picking up for Reading Ireland Month?
Amy Sackville’s debut novel, The Still Point, had been on my radar ever since I read her follow-up, Orkney. I finally put it on my wish list and got a copy for Christmas. In the meantime, I’d also acquired a copy of Emily Rapp’s memoir The Still Point of the Turning World as part of a big secondhand book haul at the start of the first lockdown.
Both books take their title from the eminently quotable T.S. Eliot*, specifically his poem “Burnt Norton.” I couldn’t resist the urge to review them together (along with Rapp’s recent sequel) – although, unlike with my dual review of two books titled Ex Libris, I won’t pit them against each other because they’re such different books.
That said, they do share a dreamlike quality and the search for people and places that might serve as refuges in a shattered life. All:
The Still Point by Amy Sackville (2010)
I am not heroic, I prefer
not to conquer
polar regions, my
gardens in July
serve for me.
~from “emperor’s walk” by G.F. Dutton
A sweltering summer versus an encasing of ice; an ordinary day versus decades of futile waiting. Sackville explores these contradictions only to deflate them, collapsing time such that a polar explorer’s wife and her great-great-niece can inhabit the same literal and emotional space despite being separated by more than a century. When Edward Mackley went off on his expedition in the early 1900s, he left behind Emily, his devoted, hopeful new bride. She was to live out the rest of her days in the Mackley family home with her brother-in-law and his growing family; Edward never returned. Now Julia and her husband Simon reside in that same Victorian house, serving as custodians of memories and artifacts from her ancestors’ travels and naturalist observations. From one early morning until the next, we peer into this average marriage with its sadness and silences. On this day, Julia discovers a family secret, and late on reveals another of her own, that subtly change how we see her and Emily.
This is a highly fluid and sensual novel, but somehow so sinuous as to be hard to grasp. I took in its interlocking story lines just a few pages at a time; floating on the gorgeous prose, basking in the alternating heat and chill. Sackville’s greatest stylistic debt must be to Virginia Woolf, but I was also reminded of Lucy Wood’s Weathering and Evie Wyld’s The Bass Rock – two similarly beautiful books in which a house and its ghosts are major characters – and of how some of Sarah Moss’s work braids the past into the everyday. I suspect this won’t be for every reader, but if you can find the right moment and mood, you might just be entranced.
One of Sackville’s research sources was Arctic Dreams by Barry Lopez, a work I recently skimmed for a winter post. Two passages that stood out to me apply equally well to Rapp’s books:
“The literature of nineteenth-century arctic exploration is full of coincidence and drama—last-minute rescues, a desperate rifle shot to secure food for starving men, secret letters written to painfully missed loved ones. There are moments of surreal stillness, as in Parry’s journal when he writes of the sound of the human voice in the land. And of tender ministration and quiet forbearance in the face of inevitable death.”
“The continuous work of the imagination, I thought, to bring what is actual together with what is dreamed is an expression of human evolution. The conscious desire is to achieve a state, even momentarily, that like light is unbounded, nurturing, suffused with wisdom and creation, a state in which one has absorbed that very darkness which before was the perpetual sign of defeat.”
The Still Point of the Turning World by Emily Rapp (2013)
In 2011 Rapp’s baby son Ronan was diagnosed with Tay-Sachs disease, a degenerative nerve condition that causes blindness, deafness, seizures, paralysis and, ultimately, death. Tay-Sachs is usually seen in Ashkenazi Jews, so it came as a surprise: Rapp and her husband Rick both had to be carriers, whereas only he was Jewish; they never thought to get tested.
This memoir was written while Ronan was still alive, and the rapid, in-the-thick-of-it composition is evident: it rides the same rollercoaster of feelings over and over again, even repeating some of the same facts. I put this down to the brain fog of anticipatory grief. “The constant push-pull: here but not for long. What will come next?” Rapp quotes extensively from other writers who have grappled with bereavement, especially poets, as if building an inner library to bolster herself against what is to come (“it wasn’t consolation I needed or desired, but the tools to walk through this fire without being consumed by it”).
Rapp puts her son’s life into context through memories of growing up disabled (she had a rare condition that necessitated the amputation of a leg as a child, and wore a prosthesis) in the conservative Midwest, contrasting the Christian theology she grew up in and studied at college with the Eastern and New Age spiritualities that prevail in Santa Fe, where she and Rick then lived with Ronan. She ponders the worth of a life that will be marked by no traditional achievements.
In The Art of Memoir, Mary Karr advises seven years between the events and the writing about them, but Rapp explains her strategy of instant reaction thus:
grief, this extreme experience, forces a writer to draw on her deepest resources, and such a dive demands so much work that what comes up must be heaved onto the page almost immediately; otherwise it might eat the thinker alive, drown them … Or at least that’s how I felt. You can eat fire for only so long, and then you’ve got to spit it out in another form or risk the burn.
She felt that “rendering loss was a way of honoring life,” which even with this death sentence hanging over the family had its times of pure joy: “there existed inside this helpless, frantic sadness exquisite moments of pristine happiness and an almost-perfect peace.” The title perfectly captures the necessity of finding this calmness of soul amidst a tumultuous life.
Sanctuary by Emily Rapp Black (2021)
Things got worse before they got better. As is common for couples who lose a child, Rapp and her first husband separated, soon after she completed her book. In the six months leading up to Ronan’s death in February 2013, his condition deteriorated rapidly and he needed hospice caretakers. Rapp came close to suicide. But in those desperate months, she also threw herself into a new relationship with Kent, a 20-years-older man who was there for her as Ronan was dying and would become her second husband and the father of her daughter, Charlotte (“Charlie”). The acrimonious split from Rick and the astonishment of a new life with Kent – starting in the literal sanctuary of his converted New Mexico chapel, and then moving to California – were two sides of a coin. So were missing Ronan and loving Charlie.
Sanctuary is a similarly allusive text, with each chapter prefaced by a poem, and it is again full of flashbacks, threading all the seemingly disparate parts of a life into a chaotic tapestry. Rapp Black questions the sorts of words that she and her experience got branded with: “brave,” “tragic,” “resilient” – “I unwittingly became the poster child,” she wryly reports. In the same way that she’d been praised for “overcoming disability,” she saw that she was now being trotted out as an example of coping with unimaginable loss. But she didn’t want to be someone’s model; she just wanted the chance to live her life and be happy again. Her wisdom isn’t what makes it onto inspirational stickers, but it’s genuine and hard-won:
“It has little or nothing to do with bravery. Nobody is charging into warfare here. No gold stars are given because none are earned. I am no warrior of love or anything else.”
“Time doesn’t heal anything; it just changes things—reshapes and reorients them.”
“resilience is not always a function of the desire to survive. Either you survive, or you don’t. There’s no fault, no moral judgment, assigned to either outcome.”
“Isn’t it true that what doesn’t kill you makes you stronger? No. What doesn’t kill you changes you, and those who chose to love you. That is what it means to bear witness, a unique and salvific form of resilience.”
Although I was glad to have read both, to have experienced both the in-the-moment and the after-the-fact, I think Sanctuary could easily function as a standalone memoir because of how much of Ronan’s illness it relives. For being that bit more measured and wrought, I think it’s the better book by a hair’s breadth. It tames the fire and just radiates the light and warmth.
I read an advanced e-copy via NetGalley. Thanks to John Murray Press for the approval.
Today I have a book of poems about Covid lockdown and being autistic, a reprint of a vintage cookbook with a difference, the pinnacle of autofiction that I’ve found thus far, and a prize-winning collection of short stories about immigrants’ everyday challenges.
The Oscillations by Kate Fox (2021)
The first section, “After,” responds to the events of 2020; six of its poems were part of a “Twelve Days of Lockdown” commission. Fox remembers how sinister a cougher at a public event felt on 13th March and remarks on how quickly social distancing came to feel like the norm, though hikes and wild swimming helped her to retain a sense of possibility. I especially liked “Pharmacopoeia,” which opens the collection and looks back to the Black Death that hit Amsterdam in 1635 – “suddenly the plagues / are the most interesting parts / of a city’s history.” “Returns” plots her next trip to a bookshop (“The plague books won’t be in yet, / but the dystopia section will be well stocked / … I spend fifty pounds I no longer had last time, will spend another fifty next. / Feeling I’m preserving an ecology, a sort of home”), while “The Funerals” wryly sings the glories of a spring the deceased didn’t get to see.
The second section, “Before,” is more wide-ranging, responding to artworks, historical events, family situations, and more. Fox has been vocal about her ASD, which is the subject of “What Could Be Called Communication,” about some habits of the neurodivergent that you might recognize. I also liked “The Fruits,” which narrates the end of a pregnancy, and the closing poem, “Emergency” (“between us, / sometimes despite us / love spreads like a satellite signal, / like sea foam, / like spilt coffee on a counter top, / like home.”). That was one of the few places in the whole book where the language (alliteration and an end-rhyme) struck me; elsewhere, the themes felt more notable than the poetic techniques.
With thanks to Nine Arches Press for the proof copy for review.
Eating Alone by Kathleen Le Riche (1954)
Recently reprinted as a facsimile edition by Faber, this was Le Riche’s third cookbook. It’s like no other cookbook I’ve read, though: It doesn’t list ingredients or, generally, quantities, and its steps are imprecise, more like suggestions. What it reads like is a set of short stories with incidental recipes. Le Riche had noted that people who live alone some or all of the time, for whatever reason, often can’t be bothered to cook for themselves properly. Through these old ladies, bachelors, career girls, and mothers with children off at school, she voices her ideas on shopping, food storage, simple cooking, and making good use of leftovers, but all through the medium of anecdote.
For instance, “The Grass Widower,” while his wife is away visiting her mother, indulges his love of seafood and learns how to wash up effectively. A convalescent plans the uncomplicated meals she’ll fix, including lots of egg dishes and some pleasingly dated fare like “junket” and cherries in brandy. A brother and sister, students left on their own for a day, try out all the different pancakes and quick breads in their repertoire. The bulk of the actual meal ideas come in a chapter called “The Happy Potterer,” whom Le Riche styles as a friend of hers named Flora who wrote out all her recipes on cards collected in an envelope. I enjoyed some of the little notes to self in this section: appended to a recipe for kidney and mushrooms, “Keep a few back for mushrooms-on-toast next day for a mid-morning snack”; “Forgive yourself if you have to use margarine instead of butter for frying.”
I don’t think there are any recipes here that I would actually try to reproduce, though I may one day attempt the Grass Widower’s silver-polishing method (put a strip of aluminium foil and some “washing soda” (soda crystals?) in the sink and pour over some boiling water from the kettle; dip in the silver items, touching them to the foil, and watch the tarnish disappear like magic!). This was interesting as a cultural artefact, to see the meals and ingredients that were mainstays of the 1950s (evaporated milk, anyone?) and how people coped without guaranteed refrigeration. It’s also a good reminder to eat well no matter your circumstances.
With thanks to Faber for the free copy for review.
A Feather on the Breath of God by Sigrid Nunez (1995)
My third from Nunez, after The Friend and What Are You Going Through, and my most loved of her books thus far, cementing her as one of my favourite authors. Like the other two, it’s narrated by an unnamed woman who defines herself by the people she encounters and the experiences she has in an unforgiving but still somehow beautiful and funny old world. From the little I know of Nunez, this seems the closest to autofiction, especially in terms of her parental origins. The father, Chang, born in Panama and raised in China, immigrated to the USA at age 12. In Germany for war service, he met her mother, Christa, just after VE Day.
Chang and Christa, the subjects of the book’s first two sections – accounting for about half the length – were opposites and had a volatile relationship. Their home in the New York City projects was an argumentative place the narrator was eager to escape. She felt she never knew her father, a humourless man who lost touch with Chinese culture. He worked on the kitchen staff of a hospital and never learned English properly. Christa, by contrast, was fastidious about English grammar but never lost her thick accent. An obstinate and contradictory woman, she resented her lot in life and never truly loved Chang, but was good with her hands and loved baking and sewing for her daughters.
Growing up, the narrator never knew quite what to make of her mixed, “exotic” background. For a time, she escaped into ballet, a tantalizingly female discipline that threw up a lot of issues: class pretensions, the eroticization of young girls and of pain, and eating disorders. When she went without solid food for days at a time, she felt she was approaching the weightlessness Saint Hildegard likened to being “a feather on the breath of God.” The final chapter, “Immigrant Love,” jumps ahead to when the narrator taught English as a foreign language and had an affair with Vadim, a married Russian taxi driver full of charisma but also of flaws. This finale is a brilliant twist on her parents’ situation, and a decision to teach English in China brings things full circle, promising a connection to her late father’s heritage.
The strategy of identifying the self by the key relationships and obsessions of a life struck me as spot on. This short novel punches above its weight, with profound observations on every page. Its specific situations are engaging, yet it speaks to the universals of how we cope with a troublesome past. “One wants a way of looking back without anger or bitterness or shame. One wants to be able to tell everything without blaming or apologizing,” Nunez writes, crystallizing her frank, wry approach. I’m eager to read all the rest of her oeuvre.
First published in the UK in 2021. With thanks to Virago Press for the free copy for review.
How to Pronounce Knife by Souvankham Thammavongsa (2020)
Thammavongsa pivoted from poetry to short stories and won Canada’s Giller Prize for this debut collection that mostly explores the lives of Laotian immigrants and refugees in a North American city. The 14 stories are split equally between first- and third-person perspectives, many of them narrated by young women remembering how they and their parents adjusted to an utterly foreign culture. The title story and “Chick-A-Chee!” are both built around a misunderstanding of the English language – the latter is a father’s approximation of what his children should say on doorsteps on Halloween. Television soaps and country music on the radio are ways to pick up more of the language. Farm and factory work are de rigueur, but characters nurture dreams of experiences beyond menial labour – at least for their children.
The stories are punchy: perfect snapshots of lives lived on the tightrope between expectation and despair. In “Mani Pedi,” Raymond is a former boxer who starts working at his sister’s nail salon and falls in love with a client. His sister warns him, “Don’t you be dreaming big now, little brother. Keep your dreams small. The size of a grain of rice.” In “Slingshot,” an older woman loses touch with her much younger lover, while in “The Gas Station,” Mary, a prim tax accountant, opens herself to love but ends up disappointed. The great-grandmother in “Ewwrrrkk” warns an eight-year-old that “I love you” pries open one’s legs like nothing else. “Randy Travis” and “Picking Worms” were probably my two overall favourites. Looking back, I have trouble remembering some of the individual stories. It’s not so much that they all blend into one, but that they form a cohesive whole. I’d recommend this even to readers who don’t normally pick up short stories, and will look out for more from this author.
Out in paperback on Thursday the 18th. With thanks to Bloomsbury for the free copy for review.