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.
Would you be interested in reading one or more of these?
The more I examined the architecture of my life, the more I realized how fraudulent were its foundations.
This is a book that wasn’t even on my radar until fairly late on in the year, when I noticed just how many of my Goodreads friends had read it and rated it – almost without fail – 5 stars. I knew John Boyne’s name only through the movie version of his Holocaust-set novel for younger readers, The Boy in the Striped Pajamas, and didn’t think I’d be interested in his work. But the fact that The Heart’s Invisible Furies was written in homage to John Irving (Boyne’s dedicatee) piqued my interest, and I’m so glad I gave it a try. It distills all the best of Irving’s tendencies while eschewing some of his more off-putting ones. Of the Irving novels I’ve read, this is most like The World According to Garp and In One Person, with which it shares, respectively, a strong mother–son relationship and a fairly explicit sexual theme.
A wonderful seam of humor tempers the awfulness of much of what befalls Cyril Avery, starting with his indifferent adoptive parents, Charles and Maude. Charles is a wealthy banker and incorrigible philanderer occasionally imprisoned for tax evasion, while Maude is a chain-smoking author whose novels, to her great disgust, are earning her a taste of celebrity. Both are cold and preoccupied, always quick to remind Cyril that since he’s adopted he’s “not a real Avery”. The first bright spot in Cyril’s life comes when, at age seven, he meets Julian Woodbead, the son of his father’s lawyer. They become lifelong friends, though Cyril’s feelings are complicated by an unrequited crush. Julian is as ardent a heterosexual as Cyril is a homosexual, and sex drives them apart in unexpected and ironic ways in the years to come.
For Cyril, born in Dublin in 1945, homosexuality seems a terrible curse. It was illegal in Ireland until 1993, so assignations had to be kept top-secret to avoid police persecution and general prejudice. Only when he leaves for Amsterdam and the USA is Cyril able to live the life he wants. The structure of the novel works very well: Boyne checks in on Cyril every seven years, starting with the year of his birth and ending in the year of his death. In every chapter we quickly adjust to a new time period, deftly and subtly marked out by a few details, and catch up on Cyril’s life. Sometimes we don’t see the most climactic moments; instead, we see what happened just before and then Cyril remembers the aftermath for us years later. It’s an effective tour through much of the twentieth century and beyond, punctuated by the AIDS crisis and focusing on the status of homosexuals in Ireland – in 2015 same-sex marriage was legalized, which would have seemed unimaginable a few short decades before.
Boyne also sustains a dramatic irony that kept me reading eagerly: the book opens with the story Cyril’s birth mother told him of her predicament in 1945, and in later chapters Cyril keeps running into this wonderfully indomitable woman in Dublin – but neither of them realizes how intimately they’re connected. Thanks to the first chapter we know they eventually meet and all will be revealed, but exactly when and how is a delicious mystery.
Along with Irving, Dickens must have been a major influence on Boyne. I spotted traces of David Copperfield and Great Expectations in minor characters’ quirks as well as in Cyril’s orphan status, excessive admiration of a romantic interest, and frequent maddening failures to do the right thing. But there are several other recent novels – all doorstoppers – that are remarkably similar in their central themes and questions. In Donna Tartt’s The Goldfinch, Hanya Yanagihara’s A Little Life and Nathan Hill’s The Nix we also have absent or estranged mothers; friends, lovers and adoptive family who help cut through a life of sadness and pain; and the struggle against a fate that seems to force one to live a lie. Given a span of 500 pages or more, it’s easy to become thoroughly engrossed in the life of a flawed character.
The Heart’s Invisible Furies – a phrase Hannah Arendt used to describe the way W.H. Auden wore his experiences on his face – is an alternately heartbreaking and heartening portrait of a life lived in defiance of intolerance and tragedy. A very Irish sense of humor runs all through the dialogue and especially Maude’s stubborn objection to fame. I loved Boyne’s little in-jokes about the writer’s life (“It’s a hideous profession. Entered into by narcissists who think their pathetic little imaginations will be of interest to people they’ve never met”) and thanks to my recent travels I was able to picture a lot of the Dublin and Amsterdam settings. Although it’s been well reviewed on both sides of the Atlantic, I’m baffled that this novel doesn’t have the high profile it deserves. I am especially grateful to Sarah of Sarah’s Book Shelves for naming this her book of the year: knowing her discriminating tastes, I could tell I’d be in for something special. Look out for it on my Best Fiction of 2017 list tomorrow.
I got just four books for Christmas this year, but they’re all ones I’m very excited to read. I looked back at last year’s Christmas book haul photo and am impressed that I’ve actually read seven out of eight of them now – and the eighth is a cocktail cookbook one wouldn’t read all the way through anyway. All too often I let books sit around for years unread, but I will try to keep up this trend of reading books fairly soon after they enter my collection.
We got back on Monday from a packed week in Ghent and Amsterdam. Despite the chilly, showery weather and a slightly disappointing Airbnb experience in Ghent, it was a great trip overall. Our charming little B&B apartment in Broek in Waterland, a 20-minute bus ride from Amsterdam, more than made up for the somewhat lackluster accommodation in Belgium and was a perfect base for exploring the area. With our three-day, all-inclusive regional travel passes we were free to hop on as many trams and buses as we wanted.
On Saturday we crammed in lots of Amsterdam’s main attractions: the Rijksmuseum, the Begijnhof cloisters, the Botanical Gardens and the Anne Frank House, interspersed with window shopping, a rainy picnic lunch and an Indonesian takeaway dinner eaten by a canal. I also got to visit a more off-the-beaten-track attraction I’d spotted in our guide book: De Poezenboot or “The Cat Boat,” a home for strays moored on the Singel canal. Alas, the resident kitties were not as friendly as many we met on the rest of the trip, but it was still fun.
The highlight of our Amsterdam stay was the Van Gogh Museum on Sunday morning. It was crowded – everything was; though Ghent was very quiet, Amsterdam doesn’t seem to be into its off season yet, if it even has one – but we took our time and saw every single painting, many of which I’d never come across in reproductions. The galleries are organized in chronological order, so you get to trace Van Gogh’s style and state of mind over the years. Superb.
At this point we were just about overwhelmed by the big city atmosphere, so we spent much of the next day and a half in the outlying Dutch towns of Marken and Edam. Flat fields and dykes, cows, cobbled streets and bicycles everywhere – it’s what you’d expect of Holland’s countryside, apart from a surprising dearth of windmills.
- This Ghent University library – I’m presuming it held Special Collections/rare books:
- The American Book Center in Amsterdam:
What I read:
- Pnin by Vladimir Nabokov: A comic novel about a Russian professor on an American college campus. While there are indeed shades of Lucky Jim – I certainly laughed out loud at Timofey Pnin’s verbal gaffes and slapstick falls – there’s more going on here. In this episodic narrative spanning 1950–4, Pnin is a figure of fun but also of pathos: from having all his teeth out and entertaining the son his ex-wife had by another man to failing to find and keep a home of his own, he deserves the phrase Nabokov originally thought to use as a title, “My Poor Pnin”.
- Cork Dork by Bianca Bosker: Bosker gave herself a year and a half to learn everything about wine in hopes of passing the Court of Master Sommeliers exam. Along the way she worked in various New York City restaurants, joined blind tasting clubs and attended an olfactory conference. The challenge included educating her palate, absorbing tons of trivia about growers and production methods, and learning accepted standards for sommelier service. The resulting book is a delightful blend of science, memoir and encounters with people who are deadly serious about wine.
- You Should Have Left by Daniel Kehlmann: And I thought my Airbnb experience was a nightmare? This is a horror novella about a writing retreat gone bad. The narrator is a screenplay writer who’s overdue delivering the sequel to Besties. As he argues with his partner, tries to take care of his daughter and produces fragments of the screenplay, the haunted house in the mountains starts to close in on him. I’ve loved Kehlmann’s work before (especially F), but he couldn’t convince me of the narrator’s state of mind or the peril. I actually found the book unintentionally humorous.
- The Detour by Gerbrand Bakker: A Dutch translator and Emily Dickinson scholar has fled a mistake in her personal life and settled in rural Wales at the foot of Snowdon. “She had left everything behind, everything except the poems. They would have to see her through. She forgot to eat.” On her farmstead is a dwindling flock of geese and, later on, a young man surveying for a new footpath. Amidst her quiet, secret-filled days we also learn of her husband’s attempts to find her back in Amsterdam. Bakker’s writing is subtle and lovely, yet the story never quite took off for me.
- Tulip Fever by Deborah Moggach: If you liked Girl with a Pearl Earring and The Miniaturist, you may also enjoy this atmospheric, art-inspired novel set in the 1630s. (Originally from 1999, it’s recently been adapted into a film.) Sophia, married off to an old merchant, falls in love with Jan van Loos, the painter who comes to do their portrait. If Sophia and Jan are ever to be together, they’ll have to scrape together enough money to plot an elaborate escape. I thought this was rather soap opera-ish most of the way through, though I was satisfied with how things turned out in the end.
Plus other books I had on the go (lots of short works and literature in translation):
- Dangling Man by Saul Bellow
- Diary of a Bookseller by Shaun Bythell
- Madame Bovary by Gustave Flaubert
- The Unseen by Roy Jacobsen
- The Bus Driver Who Wanted to Be God and Other Stories by Etgar Keret
- Notes on a Banana: A Memoir of Food, Love and Manic Depression by David Leite
- The Fact of a Body: A Murder and a Memoir by Alexandria Marzano-Lesnevich
- Honeydew: Stories by Edith Pearlman
- A Girl Walks into a Book: What the Brontës Taught Me about Life, Love, and Women’s Work by Miranda Pennington
What have you been reading recently?
Do you find that books read ‘on location’ never quite live up to your expectations?
We’re off to continental Europe again on Monday. This isn’t a major trip like last summer’s; it’s just a one-week break to take advantage of my husband presenting a paper at a landscape ecology conference in Ghent, Belgium. Though we’ve been to Ghent before, it’s a lovely town, so in between keeping up with a normal editing workload I’ll enjoy being a flâneuse on the streets and seeing the few sights we missed last time. Afterwards we head to Amsterdam for several days; it’ll be my first time there and I’m excited to take it all in.
Coincidentally, I recently read Bernard MacLaverty’s Midwinter Break for a BookBrowse review. It’s about a retired couple, Stella and Gerry, facing up to past trauma and present incompatibility during a short vacation in Amsterdam. They visit a number of the city’s most famous tourist destinations: from the art treasures of the Rijksmuseum to a drink taken in the dubious red light district. It was fun to take a virtual tour with them. We’ll see how much of our itinerary overlaps with theirs – the Anne Frank House, certainly; maybe I should also stop by the Begijnhof since it means so much to Stella.
When possible I like to do some geographically appropriate reading, so I’ve saved up a couple of Dutch-themed novels to take along on the trip:
- The Detour by Gerbrand Bakker [published as Ten White Geese in the USA]: By a Dutch novelist, with a plot split between Amsterdam and rural Wales.
- Tulip Fever by Deborah Moggach: Set in 17th-century Amsterdam and with an art theme (there are some full-color plates of works by Dutch masters); this was recommended by Annie Spence.
I’m mostly focusing on short fiction in September – short stories, novellas, and novels that are perhaps too long to technically be called novellas but still significantly under 200 pages – so may also pack the following:
- Before She Met Me by Julian Barnes: I don’t know much about it (adultery + film?) but it’s one of just a few of his books I haven’t read yet.
- Dangling Man by Saul Bellow: I recently read The Shadow in the Garden: A Biographer’s Tale by James Atlas, about becoming a biographer of Delmore Schwartz and Saul Bellow. It’s stellar, quite possibly my book of the year, and whetted my appetite to try some Bellow. I imagine The Adventures of Augie March would be the better place to start, but I picked this up in Oxfam Books the other day.
- Pnin by Vladimir Nabokov: Lolita is the only Nabokov I’ve read thus far; I liked the sound of this comic novel set on a college campus.
I also have to decide whether to take any of the books I currently have on the go, including my Classic (Madame Bovary) and Doorstopper (The Nix) for the month. Luckily we’re going by train, so space and weight limitations aren’t really an issue, though it would probably be prudent not to pack too many print books. I’ll probably at least take the Etgar Keret short stories: they’re flash fictions perfect for reading two or three at a time in a short sitting.
At any rate, I’ll be continuing my two e-books in progress: Cork Dork by Bianca Bosker, about the crazy world of wine obsessives and would-be top sommeliers; and Honeydew, short stories by Edith Pearlman. If I get bored, my Kindle has another 330 titles to choose from. (Isn’t it amazing? – a nearly weightless library!)
We’re back late on the 18th; I’ll be scheduling a couple of posts for while we’re away.
And the painting, above his head, was the still point where it all hinged: dreams and signs, past and future, luck and fate. There wasn’t a single meaning. There were many meanings. It was a riddle expanding out and out and out.
My pristine paperback copy of Donna Tartt’s The Goldfinch cost all of £1 at a used bookshop in Henley. Talk about entertainment value for money! Although it took me nearly a month to read, starting with Christmas week, it was more gripping than that timeframe seems to suggest. I read it under a pair of cats in the bitter-cold first week of a Pennsylvania January, then tucked it under my arm for airport queues (no way would it fit in my overstuffed carry-on bag) and finally finished it during my first week of bouncing back from transatlantic jetlag. Somehow Theo Decker’s fictional travels – from New York to Las Vegas and back; to Amsterdam and home again – blended with my sense of having been on a literal journey with the book to make this one of my most memorable reading experiences in years.
That’s not to say that the book was flawless. In fact, I found the first 200 pages or so pretty slow. You almost certainly know the basics of the plot already, but if not, glance away from the rest of this paragraph. Theo, 13, is separated from his mother during a terrorist attack on a New York City museum. Among the dying he encounters an older man – guardian of the pretty red-haired girl Theo had been checking out just moments before – who gives him a ring and tells him to go to Hobart and Blackwell antiques. But this is not the only souvenir Theo takes from his ordeal; he also steals the little Dutch masterpiece by Fabritius that appears on the book’s cover. Stumbling around the streets of New York, the shell-shocked Theo undoubtedly resembles a 9/11 victim. As the years pass, he is moved from guardian to guardian, but a few things remain constant: his memory of his mother, his obsession with the painting, and his love for Pippa, that red-haired girl who, like him, was among the survivors.
The aftermath of the attack was the most tedious section for me. It felt like it took forever for Theo’s future to be set in motion, and I thought if I heard him complain of how his head was killing him one more time I might just scream. It’s when Theo gets to Vegas, and specifically when he meets Boris, that the book really takes off. Boris is simply a terrific character. He’s lived all over and has a mixed-up accent that’s part Australian with heavy Slavic overtones. Like Theo, he has an unreliable father who is often too drunk to care what his kid is doing. This leaves the two young teens free to do whatever they want, usually something classified as illegal. Indeed, there’s a lot of drug use in this book, described in the kind of detail that makes you wonder what Tartt was up to during her years at Bennington.
As a young man Theo, back in New York, joins Hobie (of Hobart and Blackwell) in selling antiques both genuine and ersatz, and reconnects with an old friend’s family in a surprising manner. The story of what becomes of the painting was in danger of turning into a clichéd crime caper, yet Tartt manages to transform it into a richly philosophical interrogation of the nature of fate. Theo’s intimate first-person narration makes him the heir first of Dickensian orphans and later of the kind of tortured antiheroes you’d find in a nineteenth-century Russian novel: “I had the queasy sense of my own life … as a patternless and transient burst of energy, a fizz of biological static just as random as the street lamps flashing past.”
Similar to my experience with Of Human Bondage, I found that the latter part of the novel was the best. The last 200 pages are not only the most addictive plot-wise but also the most introspective; all my Post-It flags congregate here. It’s also full of the best examples of Tartt’s distinctive prose. The best way I can describe it is to say it’s like brush strokes: especially in the scenes set in Amsterdam, she’s creating a still life with words. Often this is through sentences listing images, in phrases separated by commas. Here’s a few examples:
Floodlit window. Mortuary glow from the cold case. Beyond the fog-condensed glass, trickling with water, winged sprays of orchids quivered in the fan’s draft: ghost-white, lunar, angelic.
Out on the street: holiday splendor and delirium. Reflections danced and shimmered on black water: laced arcades above the street, garlands of light on the canal boats.
Medieval city: crooked streets, lights draped on bridges and shining off rain-peppered canals, melting in the drizzle. Infinity of anonymous shops, twinkling window displays, lingerie and garter belts, kitchen utensils arrayed like surgical instruments, foreign words everywhere…
Such sentence construction shouldn’t work, yet it does. I’ve never been one to fawn over Donna Tartt, but this is writing I can really appreciate.
[I did take issue with some of the punctuation in the novel, though whether that’s down to Tartt, her editor or the UK publication team I couldn’t say. Take, for instance, this description of a station clerk: “a broad, fair, middle aged woman, pillowy at the bosom and impersonally genial like a procuress in a second rate genre painting.” Another solid allusion to Dutch art, but missing two hyphens if you ask me.]
The Goldfinch contains multitudes. It’s the Dickensian coming-of-age tale of a hero much like David Copperfield who’s “possessed of a heart that can’t be trusted.” It’s a realist record of criminal escapades. It’s a story of unrequited love. It’s a convincing first-hand picture of anxiety, addiction and regret. It has a great road trip, an endearing small dog, and a last line that rivals The Great Gatsby’s (I’ll leave you to experience it for yourself). It’s a meditation on time, fate and the purpose of art. It’s not perfect, and yet I – even as someone who pretty much never rereads books – can imagine reading this again in the future and gleaning more with hindsight. That makes it worthy of one of my rare 5-star recommendations.
Caring too much for objects can destroy you. Only—if you care for a thing enough, it takes on a life of its own, doesn’t it? And isn’t the whole point of things—beautiful things—that they connect you to some larger beauty? Those first images that crack your heart wide open and you spend the rest of your life chasing, or trying to recapture, in one way or another?