Everything was in its place.
along designated rails.
Even the arranged meeting
In paradise lost
From “Railway station” by Wisława Szymborska
The art of losing isn’t hard to master;
so many things seem filled with the intent
to be lost that their loss is no disaster.
From “One Art” by Elizabeth Bishop
This is not your average memoir. For one thing, it ends with 34 pages of notes and bibliography. Sophie Ratcliffe is an associate professor of English at the University of Oxford, and it’s clear that her life and the narrative have been indelibly shaped by literature. In this work of creative nonfiction she is particularly interested in the lives and works of Leo Tolstoy and Anthony Trollope and the women they loved. For another, the book is based around train journeys – real and fictional, remembered and imagined. Trains are appropriate symbols for many of the book’s dichotomies: scheduling versus unpredictability, having or lacking a direction in life, monotony versus momentous events, and fleeting versus lasting connections.
Each chapter, marked with a location and a year, functions as a mini-essay; as the nonchronological pieces accrete you develop a sense of what have been the most important elements of Ratcliffe’s life. One was her father’s death from cancer when she was 13, an early loss that inevitably affected the years that followed. Another was a love affair with a married photographer 30 years her senior. A number of chapters are addressed directly to this ex-lover in the second person. Although they’ve had no contact since she got married, she still thinks about him – and wonders if she’ll have a right to mourn him when he dies.
Could she have been his muse, as Kate Field was for Trollope? Field appeared in fictional guises in much of his work and thereby inspired Anna Karenina, for Tolstoy was a devoted reader of Trollope and gave his heroine a penchant for reading English novels, too. Ratcliffe seems to see herself in Anna, a wife and mother who longs for a life of her own: she writes of her love for her two children but also of the boredom that comes with motherhood’s minutiae.
Much of life’s daily tedium is bound up in physical objects, like the random objects that litter the cover. “I am a lover of small things – and of clutter,” Ratcliffe confesses. She notes that generations of literary critics have asked what was in the red handbag Anna Karenina left behind, too. What does such lost property say about its owner? What can be saved from a life in which loss is so prevalent? These are questions the book explores through its metaphors, stories and memories. It ends with the hope that writing things down gives them meaning.
If you enjoy nonstandard memoirs (like Jean Hannah Edelstein’s This Really Isn’t About You) and books about how what we read makes us who we are (such as Samantha Ellis’s How to Be a Heroine and Lucy Mangan’s Bookworm), you have a real treat in store here.
Some favorite lines:
“Life is in the between-ness, the space in the margins – not in the headlines.”
“Books, like trains, are another way of tricking time, of moving to a different beat, a different space.”
“Has my reading been a way of keeping me company – of helping me through the worlds of nearlys and barelys and the feelings of missing, and the hopeless messiness?”
“Writing is better than nothing. Better than thin air.”
With thanks to William Collins for the free copy for review.
I first heard of the author when she was a Wellcome Book Prize judge in 2018. I was delighted to be invited to take part in the blog tour for The Lost Properties of Love.
The wedding of a college friend – who I calculated I’ve known at least half my life – was the excuse we needed to book a trip back to the States for the last two weeks of May. Along with the classy nuptials in the Fell’s Point area of Baltimore, we enjoyed a day’s sightseeing in Philadelphia, a couple of outings to watch birds and other wildlife on Cape May (a migration hotspot in New Jersey), two meet-ups with other friends, and plenty of relaxation time with my mom and sister, including a Memorial Day picnic at my mom’s retirement community and a tour of Antietam Battlefield. It was much hotter than anticipated, including some days in the high 80s or even 90s, and the hayfever, ticks and mosquitoes were bad, too, but we survived.
While back in Maryland I continued the intermittent downsizing process I’ve been going through for a while now. After being on the market for nearly a year, my family home finally sold and went to closing while we were over there. So that provided a scrap of closure, but my current estrangement from my father (we don’t even know where he’s living) means there’s a lot of continuing uncertainty.
In any case, I managed to reduce the number of boxes I’m storing with my sister from 29 to 20 by recycling lots of my old schoolwork, consolidating my mementos, reselling one box of books and donating another, donating a box of figurines and decorative bottles to a thrift store, displaying some at my mom’s place, giving away a few trinkets to a friend’s kids, and packing a bunch of stuff – photo albums and decorations as well as 64 books – in our various suitcases and hand luggage to take back to the UK.
And I also acquired more books, of course! A whopping 46 of these were free: eight review copies were waiting for me at my mom’s place; three were from the outdoor free bin at 2nd & Charles, a secondhand bookstore; one was found in a Little Free Library near our friends’ place in New Jersey (Emerald City by Jennifer Egan, not pictured); and the rest were from The Book Thing of Baltimore, a legendary volunteer-run free bookshop. I mostly raided the biography section for an excellent selection of women’s life writing; the fiction is unalphabetized so harder to find anything in, but I picked up a few novels, too. My only purchases were new (remainder) copies of one novel and one memoir from Dollar Tree. Total book spending on the trip: just $2.12.
What I Read:
Two that I’d already started but finished on the plane ride over:
- The Florist’s Daughter by Patricia Hampl: (As featured in my spring reading list.) “Love and flowers, death and flowers.” Poetic writing about small-town Minnesota life, a tense relationship with her late mother, and her late father’s flower shop.
- The Girls by Lori Lansens: I love reading about sister relationships, and the Darlen girls’ situation is an extreme case of love and jealousy given that they literally can’t get away from each other. Not as good as the two other conjoined-twin novels I’ve read, Chang and Eng by Darin Strauss and Cutting for Stone by Abraham Verghese, but I would read more from Lansens, a solid Oprah Book Club sort of author.
Three review books that will be featuring here in the near future:
- Goulash by Brian Kimberling
- Sorry I’m Late, I Didn’t Want to Come: An Introvert’s Year of Living Dangerously by Jessica Pan
- Mother Ship by Francesca Segal
A few quick reads:
- A Certain Loneliness: A Memoir by Sandra Gail Lambert: (A proof copy passed on by an online book reviewing friend.) A memoir in 29 essays about living with the effects of severe polio. Most of the pieces were previously published in literary magazines. While not all are specifically about the author’s disability, the challenges of life in a wheelchair seep in whether she’s writing about managing a feminist bookstore or going on camping and kayaking adventures in Florida’s swamps. I was reminded at times of Constellations by Sinéad Gleeson.
- No Happy Endings: A Memoir by Nora McInerny: (Borrowed from my sister.) I didn’t appreciate this as much as the author’s first memoir, It’s Okay to Laugh, though it’s in the same style: lots of short, witty but bittersweet essays reflecting on life’s losses. Within a year of being widowed by cancer, she met a new partner and soon was – surprise! – pregnant with his baby. Together they formed a blended family of four children ranging from 0 to 15 and two wounded adults. McInerny also writes about her newfound spirituality and feminism. The problem with the essay format is that she cycles through aspects of the same stories multiple times.
- Native Guard by Natasha Trethewey: (Free from 2nd & Charles.) Trethewey writes beautifully disciplined verse about her mixed-race upbringing in Mississippi, her mother’s death and the South’s legacy of racial injustice. She occasionally rhymes, but more often employs forms that involve repeated lines or words. The title sequence concerns a black Civil War regiment in Louisiana. Two favorites from this Pulitzer-winning collection by a former U.S. poet laureate were “Letter” and “Miscegenation”; stand-out passages include “In my dream, / the ghost of history lies down beside me, // rolls over, pins me beneath a heavy arm” (from “Pilgrimage”) and “I return / to Mississippi, state that made a crime // of me — mulatto, half-breed” (from “South”).
I also read the first half or more of: The Music Shop by Rachel Joyce, my June book club book; Hungry by Jeff Gordinier, a journalist’s travelogue of his foodie journeys with René Redzepi of Noma fame, coming out in July; and the brand-new novel In West Mills by De’Shawn Charles Winslow – these last two are for upcoming BookBrowse reviews.
But the book I was most smug to have on my reading list for the trip was the recent novel Cape May by Chip Cheek. What could be more perfect for reading on location? I asked myself. Unfortunately, it stood out for the wrong reasons. In October 1957 a young pair of virgins, Effie and Henry, travel from Georgia to New Jersey for an off-season honeymoon in her uncle’s vacation home. They’re happy enough with each other but underwhelmed with the place (strangely, this matched my experience of Cape May), and even consider going home early until they fall in with Clara, a friend of Effie’s cousin; Clara’s lover, Max; and Max’s younger sister, Alma. Effie and Henry join the others for nightly drunken revelry.
[SPOILERS!] As the weeks pass Effie, ill and dejected, almost seems to disappear as Cheek delves into Henry’s besotted shenanigans, described in unnecessarily explicit sexual detail. When Effie makes a bid or two for her own sexual freedom late on, it only emphasizes the injustice of spending so much time foregrounding Henry’s perspective. Despite the strength of the period atmosphere and seaside location, this ends up being dull and dated. If you’re after a typically ‘trashy’ beach read and don’t mind lots of sex scenes, you may get on with it better than I did.
Vineland, New Jersey was on the way from our friends’ house to Cape May, so we stopped to take my proof copy of Barbara Kingsolver’s Unsheltered to its spiritual home. Alas, Vineland is an utterly boring small American town. However, Mary Treat at least appears on a painted mural on a building on the main street. The Historical Society, where Kingsolver did her research, was closed, but we photographed the outside.
What’s the last book you read ‘on location’? Did it work out well for you?
I didn’t manage a traditional classic this month: I stalled on Cider with Rosie and gave up on Evelyn Waugh’s A Handful of Dust after just 16 pages. Instead, I’m highlighting three books from Fiction Advocate’s new series about re-reading modern classics, “…Afterwords.” Their tagline is “Essential Readings of the New Canon,” and the concept is to have “acclaimed writers investigate the contemporary classics.”
As Italo Calvino notes in his invaluable essay “Why Read the Classics?”, “The classics are those books about which you usually hear people saying: ‘I’m rereading…’, never ‘I’m reading…’.” Harold Bloom agrees in The Western Canon: “One ancient test for the canonical remains fiercely valid: unless it demands rereading, the work does not qualify.” But readers will also encounter books that strike such a chord with them that they become personal classics. Calvino exhorts readers that “during unenforced reading … you will come across the book which will become ‘your’ book…‘Your’ classic is a book to which you cannot remain indifferent, and which helps you define yourself in relation or even in opposition to it.”
For the Afterwords series, the three writers below have each chosen a modern classic that they can’t stop reading for all it has to say to their own situation and on humanity in general.
I Meant to Kill Ye: Cormac McCarthy’s Blood Meridian by Stephanie Reents (2018)
Blood Meridian must be one of the two or three bleakest books I’ve ever read. I was led to it by Bloom, who speaks about it as a, if not the, Great American Novel. It’s over 10 years since I’ve read it now, but I still remember some of the specific incidences of violence, like skewering babies and sodomizing corpses on a battlefield, as well as the overall feeling of nihilism: there’s no reason for the evil promulgated by characters like the Judge; it is simply a reality – perhaps the human condition.
Reents, who teaches English at the College of the Holy Cross, returns to Blood Meridian, a novel she has re-read compulsively over the years, to ask why it continues to have such a hold over her. Its third-person perspective is so distant that we never understand characters’ motivations or glimpse their inner lives, she notes; everyone seems like a pawn in a fated course. She usually shies away from violence and long descriptive passages; she has an uneasy relationship with the West, having moved away from Idaho to live on the East coast. So why should this detached, brutal Western based on the Glanton Gang’s Mexico/Texas killing spree have so captivated her? “Often, we most admire the books that we could never produce, the writing styles or intellects so different from our own that we aren’t even tempted to try imitating them,” she offers as explanation. “It’s a pure kind of admiration, unsullied by envy.” (I feel that way about Faulkner and Steinbeck.)
As part of her quest, Reents recreated some of the Gang’s desert route and traveled to the Texas State University library near Austin to look at McCarthy’s early drafts, notes and correspondence. She was intrigued to learn that the Kid was a more conventional POV character to start with, and McCarthy initially included more foreshadowing. By cutting all of it, he made it so that the book’s extreme violence comes out of nowhere. Reents also explores the historical basis for the story via General Samuel Chamberlain’s dubious memoir. Pondering the volatility of the human heart as she drives along the Mexican border, she ends on the nicely timely note of a threatened Trump-built wall. I doubt I could stomach reading Blood Meridian again (though I’ve read another two McCarthy novels since), but I enjoyed revisiting it with Reents as she finds herself “re-bewildered by its beauty and horror.”
A Little in Love with Everyone: Alison Bechdel’s Fun Home by Genevieve Hudson (2018)
Alison Bechdel is one of Hudson’s queer heroes (along with James Baldwin, Tracy Chapman, and seven others), portrayed opposite the first page of each chapter in black and white drawings by Pace Taylor – the sort of people who gave her the courage to accept her lesbian identity after a conventional Alabama upbringing.
As portrayed in her landmark graphic memoir Fun Home, Bechdel was in college and finally coming to terms with her sexuality at the same time that she learned that her father was gay and her parents were about to divorce. Her father died in an accident just a few months later and, though he had many affairs, had never managed to live out his homosexuality openly. As Bechdel’s mother scoffed, “Your father tell the truth? Please!” By contrast, Hudson appreciates Bechdel so much because of her hard-won honesty: “In her work, Bechdel does the opposite of lying. She excavates the real. She dredges up the stuff of her life, embarrassing parts and all.”
Hudson looks at how people craft their own coming-out narratives, the importance of which cannot be overemphasized, in her experience. “Coming out was a tangible thing with tangible effects. For every friend who left my life, a new person arrived—usually someone with broader horizons, exciting stories, and a deviance that seemed sweet and sexy and sincere. After I came out, roaming the streets of Charleston in fat sunglasses and thin dresses, a group of beautiful lesbians appeared out of nowhere. … Everyone was a little in love with everyone.”
A Cool Customer: Joan Didion’s The Year of Magical Thinking by Jacob Bacharach (2018)
I made the mistake of not taking any notes on, or even marking out any favorite passages in, this, so all I can tell you is that for me it was the most powerful of the three I’ve tried from the series. The author re-examines Didion’s work in the light of his own encounter with loss – his brother’s death from a drug overdose – and ponders why it has become such a watershed in bereavement literature. Didion really is the patron saint of grief thanks to her two memoirs, Magical Thinking and Blue Nights – after she was widowed she also lost her only daughter – even though she writes with a sort of intellectual detachment; you have to intuit the emotion between the lines. Bacharach smartly weaves his family story with a literate discussion of Didion’s narratives and cultural position to make a snappy and inviting book you could easily read in one sitting.
Indeed, all of the Afterwords books are 120–160-page, small-format paperbacks that would handily slip into a pocket or purse.
My thanks to the publisher for the free copies for review.
The other titles in the series are An Oasis of Horror in a Desert of Boredom by Jonathan Russell Clark (on 2666 by Roberto Bolaño), New Uses for Failure by Adam Colman (on 10:04 by Ben Lerner, and Bizarro Worlds by Stacie Williams (on The Fortress of Solitude by Jonathan Lethem).
Next month’s plan: The Leopard by Giuseppe di Lampedusa will be my classic to get me in the mood for traveling to Italy for the first week of July.
In March through May I often try to read a few gardening-themed books and/or ones with “spring” in the title. Here are some of the ones that I have on the go as occasional reading:
Flowers and gardens
The Florist’s Daughter by Patricia Hampl: Her mother’s final illness led Hampl to reflect on her upbringing in St. Paul, Minnesota as the daughter of an Irish Catholic library clerk and a Czech florist. I love how she writes about small-town life and helping out in her father’s flower shop:
“These apparently ordinary people in our ordinary town, living faultlessly ordinary lives … why do I persist in thinking—knowing—they weren’t ordinary at all? … Nostalgia is really a kind of loyalty”
“it was my father’s domain, but it was also marvelously other, this place heavy with the drowsy scent of velvet-petaled roses and Provençal freesias in the middle of winter, the damp-earth spring fragrance of just-watered azaleas and cyclamen”
Led by the Nose: A Garden of Smells by Jenny Joseph: Joseph’s name might not sound familiar, but she was the author of the famous poem “Warning: When I Am an Old Woman I Shall Wear Purple” and died early last year. This is a pleasant set of short pieces about what you might see and sense in your garden month by month. “Gardeners do indeed look before and after, at the same time living, as no one else, in the now of the nose,” she maintains. I’m particularly fascinated by the sense of smell and how a writer can describe odors, so I was delighted to find this in a charity shop in Edinburgh last year and have been reading it a few pages at a time as a bedside book. I especially like the wood engravings by Yvonne Skargon that head each chapter.
Green Thoughts: A Writer in the Garden by Eleanor Perényi: A somewhat dense collection of few-page essays, arranged in alphabetical order, on particular plants, tools and techniques. I tried reading it straight through last year and only made it as far as “Beans.” My new strategy is to keep it on my bedside shelves and dip into whichever pieces catch my attention. I don’t have particularly green fingers, so it’s not a surprise that my eye recently alighted on the essay “Failure,” which opens, “Sooner or later every gardener must face the fact that certain things are going to die on him. It is a temptation to be anthropomorphic about plants, to suspect that they do it to annoy.”
With One Lousy Free Packet of Seed by Lynne Truss (DNF at page 131 out of 210): A faltering gardening magazine is about to be closed down, but Osborne only finds out when he’s already down in Devon doing the research for his regular “Me and My Shed” column with a TV actress. Hijinks were promised as the rest of the put-out staff descend on Honiton, but by nearly the two-thirds point it all still felt like preamble, laying out the characters and their backstories, connections and motivations. My favorite minor character was Makepeace, a pugnacious book reviewer: “he used his great capacities as a professional know-all as a perfectly acceptable substitute for either insight or style.”
The Seasons, a Faber & Faber / BBC Radio 4 poetry anthology: From Chaucer and other Old English poets to Seamus Heaney (“Death of a Naturalist”) and Philip Larkin (“The Trees”), the spring section offers a good mixture of recent and traditional, familiar and new. A favorite passage was “May come up with fiddle-bows, / May come up with blossom, / May come up the same again, / The same again but different” (from “Nuts in May” by Louis MacNeice). Once we’re back from America I’ll pick up with the summer selections.
In the Springtime of the Year by Susan Hill: Early one spring, Ruth Bryce’s husband, Ben, dies in a forestry accident. They had only been married a year and here she is, aged twenty-one and a widow. Ben’s little brother, 14-year-old Jo, is a faithful visitor, but after the funeral many simply leave Ruth alone. I’m 100 pages in and still waiting for there to be a plot as such; so far it’s a lovely, quiet meditation on grief and solitude amid the rhythms of country life. Ben’s death is described as a “stone cast into still water,” and here at nearly the halfway point we’re seeing how some of the ripples spread out beyond his immediate family. I’m enjoying the writing more than in the three other Hill books I’ve read.
Absent in the Spring by Mary Westmacott: (The title doesn’t actually have anything to do with the season; it’s a quotation from Shakespeare’s Sonnet 98: “From you have I been absent in the spring.”) From 1944, this is the third of six novels Agatha Christie published under the alias Mary Westmacott. Joan Scudamore, traveling back to London from Baghdad after a visit to her adult daughter, encounters bad weather and misses her train, which leaves her stranded in the desert for days that feel more like weeks. We’re led back through scenes from Joan’s earlier life and realize that she’s utterly clueless about what those closest to her want and think. Rather like Olive Kitteridge, Joan is difficult in ways she doesn’t fully acknowledge. Like a desert mirage, the truth of who she’s been and what she’s done is hazy, and her realization feels a little drawn out and obvious. Once she gets back to London, will she act on what she’s discovered about herself and reform her life, or just slip back into her old habits? This is a short and immersive book, and a cautionary tale to boot. It examines the interplay between duty and happiness, and the temptation of living vicariously through one’s children.
Have you been reading anything particularly appropriate for spring this year?
Most of the time, if I learn that a book has a sequel or is the first in a series, my automatic reaction is to groan. Why can’t a story just have a tidy ending? Why does it need to sprawl further, creating a sense of obligation in its readers? Further adventures with The Hundred-Year-Old Man Who Climbed Out the Window? Returning to the world of The Handmaid’s Tale? No, thank you.
It was different when I was a kid. I couldn’t get enough of series: the Little House on the Prairie books, Encyclopedia Brown, Nancy Drew, the Saddle Club, Redwall, the Baby-Sitters Club, various dragon series, Lilian Jackson Braun’s Cat Who mysteries, the Anne of Green Gables books… You name it, I read it. I think children, especially, gravitate towards series because they’re guaranteed more of what they know they like. It’s a dependable mold. These days, though, I’m famous for trying one or two books from a series and leaving the rest unfinished (Harry Potter: 1.5 books; Discworld: 2 books at random; Jim Butcher’s Dresden Files: 1 book; the first book of crime series by M.J. Carter, Judith Flanders and William Shaw).
But, like any reader, I break my own rules all the time – even if I sometimes come to regret it. I recently finished reading a sequel and I’m now halfway through another. I’ve even read a few high-profile sci fi/fantasy trilogies over the last eight years, even though with all of them I liked each sequel less than the book that went before (Margaret Atwood’s MaddAddam books, Chris Beckett’s Dark Eden series and Deborah Harkness’s All Souls Trilogy).
A later book in a series can go either way for me – surpass the original, or fail to live up to it. Nonfiction sequels seem more reliable than fiction ones, though: if I discover that a memoirist has written a follow-up volume, I will generally rush to read it.
So, what would induce me to pick up a sequel?
I want to know what happens next.
After reading Ruth Picardie’s Before I Say Goodbye, I was eager to hear from her bereaved sister, Justine Picardie. Ruth died of breast cancer in 1997; Justine writes a journal covering 2000 to 2001, asking herself whether death is really the end and if there is any possibility of communicating with her sister and other loved ones she’s recently lost. If the Spirit Moves You: Life and Love after Death is desperately sad, but also compelling.
Graeme Simsion’s Rosie series has a wonderfully quirky narrator. When we first meet him, Don Tillman is a 39-year-old Melbourne genetics professor who’s decided it’s time to find a wife. Book 2 has him and Rosie expecting a baby in New York City. I’m halfway through Book 3, in which in their son is 11 and they’re back in Australia. Though not as enjoyable as the first, it’s still a funny look through the eyes of someone on the autistic spectrum.
Edward St. Aubyn’s Never Mind, the first Patrick Melrose book, left a nasty aftertaste, but I was glad I tried again with Bad News, a blackly comic two days in the life of a drug addict.
Joan Anderson’s two sequels to A Year by the Sea are less engaging, and her books have too much overlap with each other.
Perhaps inevitably, Bill Clegg’s Ninety Days, about getting clean, feels subdued compared to his flashy account of the heights of his drug addiction, Portrait of an Addict as a Young Man.
Patrick Leigh Fermor’s Between the Woods and the Water was an awfully wordy slog compared to A Time of Gifts.
Mary Doria Russell’s The Sparrow was one of my favorite backlist reads last year. I only read the first 60 pages of Children of God, though. It was a recent DNF after leaving it languishing on my pile for many months. While I was, of course, intrigued to learn that (SPOILER) a character we thought had died is still alive, and it was nice to see broken priest Emilio Sandoz getting a chance at happiness back on Earth, I couldn’t get interested in the political machinations of the alien races. Without the quest setup and terrific ensemble cast of the first book, this didn’t grab me.
I want to spend more time with these characters.
Simon Armitage’s travel narrative Walking Away is even funnier than Walking Home.
I’m as leery of child narrators as I am of sequels, yet I read all 10 Flavia de Luce novels by Alan Bradley: quaint mysteries set in 1950s England and starring an eleven-year-old who performs madcap chemistry experiments and solves small-town murders. The Dead in Their Vaulted Arches (#6) was the best, followed by Thrice the Brinded Cat Hath Mew’d (#8).
Roald Dahl’s Going Solo is almost as good as Boy.
Alexandra Fuller’s Leaving Before the Rains Come is even better than Don’t Let’s Go to the Dogs Tonight.
Likewise, Sarah Moss’s Signs for Lost Children, about a female doctor in the 1880s, is even better than Bodies of Light.
Doreen Tovey’s Cats in May is just as good as Cats in the Belfry.
H. E. Bates’s A Breath of French Air revisits the Larkins, the indomitably cheery hedonists introduced in The Darling Buds of May, as they spend a month abroad in the late 1950s. France shows off its worst weather and mostly inedible cuisine; even the booze is barely tolerable. Like a lot of comedy, this feels slightly dated, and maybe also a touch xenophobic.
The first Hendrik Groen diary, about an octogenarian and his Old-But-Not-Dead club of Amsterdam nursing home buddies, was a joy, but the sequel felt like it would never end.
I loved Marilynne Robinson’s Gilead; I didn’t need the two subsequent books.
The Shakespeare Requirement, Julie Schumacher’s sequel to Dear Committee Members, a hilarious epistolary novel about an English professor on a Midwest college campus, was only mildly amusing; I didn’t even get halfway through it.
I finished Jane Smiley’s Last Hundred Years trilogy because I felt invested in the central family, but as with the SFF series above, the later books, especially the third one, were a letdown.
What next? I’m still unsure about whether to try the other H. E. Bates and Edward St. Aubyn sequels. I’m thinking yes to Melrose but no to the Larkins. Olive Kitteridge, which I’ve been slowly working my way through, is so good that I might make yet another exception and seek out Olive, Again in the autumn.
Sequels: yea or nay?
Four February–March releases: A shape-shifting bereavement memoir; a poet’s selected works, infused with nature and history; a novel set among expatriates in Shanghai; and a graphic novel about a romance at the watershed of age 60 – you can’t say I don’t read a variety of books! I’m particularly pleased that two of these four are in translation. All:
When Death Takes Something from You Give It Back: Carl’s Book by Naja Marie Aidt
[Translated from the Danish by Denise Newman]
In March 2015 Aidt got a call telling her that her second of four sons, Carl Emil, was dead. The 25-year-old experienced drug-induced psychosis after taking some mushrooms that he and his friend had grown in their flat and, naked, jumped out of his fifth-floor Copenhagen window. In italicized sections she cycles back to the moment she was notified, each time adding on a few more harrowing details about Carl’s accident and the condition she found him in. The rest of the text is a collage of fragments: memories, dreams, dictionary definitions, journal entries, and quotations from the patron saints of bereavement (C.S. Lewis and Joan Didion) and poets who lost children, such as Stéphane Mallarmé.
The playful disregard for chronology and the variety of fonts, typefaces and sizes are a way of circumventing the feeling that grief has made words lose their meaning forever. David Grossman, whose son died during his service in the Israeli army, does a similar thing in Falling Out of Time, which, although it is fiction, blends poetry and dialogue in an attempt to voice the unspeakable. Han Kang’s The White Book and Yiyun Li’s Where Reasons End are two other comparable precursors.
A representative passage:
“no language possible language died with my child could not be artistic could not be art did not want to be fucking art I vomit over art over syntax write like a child main clauses searching everything I write is a declaration I hate writing don’t want to write any more”
With thanks to Quercus Books for the free copy for review.
Gallop: Selected Poems by Alison Brackenbury
I first encountered Alison Brackenbury’s poetry through her reading as part of the 2017 “Nature Matters” conference in Cambridge. From four generations of Lincolnshire shepherds, Brackenbury writes about history, nature, country life (especially horses, as you might guess from the title and cover) and everyday joys and regrets. A Collected/Selected Poems volume is often difficult to assess as a whole because there can be such a variety of style and content; while that is certainly true here in terms of the poems’ length and rhyme schemes, the tone and themes are broadly similar throughout. I connected most to her middle period. Her first and last lines are especially honed.
Highlights include “The Wood at Semmering” (“This is a dismal wood. We missed our train.”), “Half-day” (“Will she lift / Her face from cloth’s slow steam: will she find out / Ironing is duty; summer is a gift?”), “Hill Mist” (“I am too fond of mist, which is blind / without tenderness”), “On the Road” (the bravery of a roadkill squirrel), “Epigrams” (being in the sandwich generation), “The Card” (“Divorce comes close to death”), “Cycles” (“Would I go back?”), “The Jane Austen Reader” (“Welcome to the truth. Miss Bingley married Darcy”), “On the Aerial” (a starling’s many songs), and “Dickens: a daydream.”
Some favorite lines:
“we are love’s strange seabirds. We dive there, still.” (from “The Divers’ Death”)
“Ancestors are not in our blood, but our heads: / we make history.” (from “Robert Brackenbury”)
With thanks to Carcanet Press for the free copy for review.
Besotted by Melissa Duclos
Sasha is soon to leave Shanghai, her departure hastened by the collapse of her relationship with Liz, whom she hired to work at her international school because she had no teaching experience or Chinese – and maybe because she signed her cover letter “Besottedly,” thinking it meant drunkenly. Even before Liz arrived, Sasha built romantic fantasies around her, thinking she’d show her the ropes and give her a spare room to live in. All went according to plan – the erstwhile straight Liz even ended up in Sasha’s bed – until it all fell apart.
The novel is set over one school year and shows the main characters exploring the expat community, which primarily involves going to happy hours. Liz starts language exchange sessions at Starbucks with a Chinese guy, Sam, and both women try to ignore the unwanted advances of their acquaintance Dorian, an architect. Little misunderstandings and betrayals go a long way towards rearranging these relationships, while delicate flashbacks fill in the women’s lives before China.
There were a couple of narrative decisions here that didn’t entirely work for me: Sasha narrates the whole book, even scenes she isn’t present for; and there is persistent personification of abstractions like Loneliness and Love. But the descriptions of the city and of expat life are terrific, and the wistful picture of a romance that starts off sweet but soon sours is convincing.
A favorite passage:
“Shanghai had found its own identity since then: a glittering capitalist heart, hardened into a diamond and barely hidden beneath its drab, brown communist cloak. … Constantly under construction, Shanghai was a place to reinvent yourself.”
Full disclosure: Melissa and I worked together on Bookkaholic web magazine, and are Facebook friends. She sent me a free proof copy for review.
Blossoms in Autumn by Zidrou and Aimée de Jongh
[Translated from the French by Matt Madden]
The French-language title, translated literally, is The Programmed Obsolescence of Our Feelings. (Talk about highfalutin!) Both that and the English title defy the notion that we become less capable of true love and growth the older we are – as will be dramatized through the story of a later-life romance between the two main characters. Ulysses Varennes, a 59-year-old widower who retired early from his career as a mover, hates books (gasp!) because moving boxes of them ruined his back (he even refuses to read them!). Mediterranea Solenza, coming up on 62, was a nude model in her prime and is now a cheesemaker. At the book’s opening she has just laid her mother to rest, and her affair with Ulysses serves as a chance at a new life that somehow counterbalances the loss.
We come to understand these characters through the sadness of their past but also through their hopeful future, both encompassed by the metaphor of a Homeric journey (Ulysses, get it?). Indeed, the book takes an unusual turn I never would have expected; if it beggars belief, it is at least touching. Zidrou is a Belgian comics writer and Aimée de Jongh is a Dutch-born illustrator. She portrays these ageing bodies sensitively but realistically, retreating into an appropriately impressionistic style for the spreads that show their actual lovemaking. In a nice touch, the first two words and last two words of the book are exactly the same.
With thanks to SelfMadeHero for the free copy for review.
Would you be interested in reading one or more of these?
I’m certainly not the first to notice these rather similar titles – both of which appear on this year’s Folio Prize and Women’s Prize longlists. I preferred Diana Evans’s Ordinary People (), which I just finished earlier this week, to Sally Rooney’s Normal People (). The two novels look at fairly average situations – two Black couples with children in South London and the Surrey suburbs; a pair of university students in Ireland – and probe the emotional intricacies.
Michelle Obama’s Becoming is now set to become the bestselling memoir of all time. I enjoyed it as much as any memoir-loving fan of the Obamas would (), but after I found out that it was ghostwritten I couldn’t get that little fact out of my mind. By contrast, Anuradha Bhagwati’s Unbecoming is the memoir of a bisexual U.S. Marine captain and tells of the racism and sexism she experienced. It came out last week and has only six ratings on Goodreads, so it’s as under-the-radar as Becoming is overexposed.
Just one letter separates the titles of these two books. I’ve been slowly making my way through All the Lives We Ever Lived, Katharine Smyth’s elegant bibliomemoir about her father’s death and the comfort she found in rereading To the Lighthouse. I don’t know much about All the Lives We Never Lived by Anuradha Roy, just that it’s set in 1930s India and Bali and has been longlisted for the Walter Scott Prize for historical fiction. Her previous novel, Sleeping on Jupiter (2015), was shortlisted for the Man Booker Prize.
Which of the books from these pairs would tempt you?
These two memoirs may be very different in terms of the setting (Texas and Yale versus rural Lancashire) and particulars, but I’m reviewing them together because they are both about dysfunctional families and the extent to which external circumstances determine how others see us – and how we view ourselves.
There Will Be No Miracles Here: A Memoir from the Dark Side of the American Dream by Casey Gerald (2018)
The title comes from a seventeenth-century sign in a French village that was intended to get the God-dazzled peasants back to work. For Gerald it’s a somewhat tongue-in-cheek reminder that his life, even if he has made good after an unpromising beginning, is not some American dream or fairytale. It’s more complicated than that. Still, there’s no sugar-coating his family issues. His father missed his tenth birthday party because he was next door with dope fiends; his bipolar mother was in the psych ward while his father was in jail, and then disappeared for several years. Gerald and his older sister, a college dropout, got an apartment and set their own lax rules. In the meantime, he was coming to terms with the fact that he was gay and trying to reconcile his newfound sexual identity with his Christian faith.
In spite of it all, Gerald shone academically and athletically. He was his Texas high school’s valedictorian and followed his father into a thriving college football career – at Yale, where he accidentally fell into leadership via a Men of Color council across the Ivy League schools. It wasn’t until he got to Yale that it even occurred to him that he was poor. (I was reminded of the moment in Michelle Obama’s memoir when she got to Princeton and experienced being a minority for the first time.) As he neared graduation, he decided to go into investment banking “simply because I did not have any money and none of my people had any money.” Back in Texas after a year in a Washington, D.C. think tank, he even considered a run for Congress under the slogan “We can dream again.”
I loved the prologue, which has the 12-year-old Gerald cowering with his church congregation on the last night of 1999, in fear of being left behind at the end of the world. I think I expected religion to continue as a stronger theme throughout the book. The style wasn’t really what I imagined either: it’s a coy combination of reader address, stream-of-consciousness memories, and remembered speech in italics that often set me skimming. Whereas landmark events like his mother’s departure are left impressionistic, football games and the inner workings of Yale’s societies are described in great detail. Scenes in the classroom and with boyfriends, though still occasionally tedious, at least feel more relevant.
Gerald proudly calls himself a “faggot” and is going for a kind of sassy, folksy charm here. For me the tone only landed sometimes. Mostly I appreciated his alertness to how others (often wrongly) perceived him – a great instance of this is when he meets George W. Bush in 2007 and tells him the bare bones of his story, only for Dubya to later twist it into an example in a speech. The memoir tails off into a rather odd and sudden ending, and overall I wasn’t sure it had enough to say to fill close to 400 pages. Perhaps Gerald could have waited another 10 years? As a more successful take on similar themes, I’d recommend the memoir-in-essays Live Through This: Surviving the Intersections of Sexuality, God, and Race by Clay Cane.
There Will Be No Miracles Here was hand-picked by Colm Tóibín for publication by Tuskar Rock Press, a new imprint of Serpent’s Tail, on January 10th. It was published in the USA by Riverhead Books in October 2018. My thanks to the UK publisher for the free copy for review.
When I Had a Little Sister: The Story of a Farming Family that Never Spoke by Catherine Simpson (2019)
On December 7, 2013, Simpson’s younger sister, Tricia, was found dead by their 87-year-old father at the family farmhouse where she lived in Lancashire. She was 46 and had been receiving daily mental health visits for her bipolar disorder, but the family had never been notified about a previous suicide attempt just three weeks before. Simpson excavates her family history to ask how things could have gotten so bad that they didn’t realize that Tricia’s depression had reached suicidal levels.
Simpson’s grandparents – her grandfather a World War I veteran – moved into the property in 1925, so by this time there was literally generations’ worth of stuff to clear out. “I ask myself now: is it possible to dispose of a person’s effects with dignity?” Simpson frets. As she and her father sifted through antique furniture, gadgets and craft supplies, she recalls the previous death in the family: her mother’s from non-Hodgkin’s lymphoma seven years before. Growing up on a cattle farm in the 1970s, the three daughters were expected to be practical and unsentimental; there was never any discussion of emotions, and they got the sense that their overworked, unfulfilled mother would rather they weren’t around at all. In this context, it was hard for Tricia to cope with everyday challenges like struggling with schoolwork and the death of a beloved cousin. She started smoking at 12 and went on antidepressants at 19.
Simpson started writing this family memoir on a fellowship at Hawthornden Castle in February 2016. The first step of her project was to read all of Tricia’s diaries, from age 14 on. There were happy experiences, like six months as a nanny in Vienna and a travel grant to a kibbutz in Israel. There were also unwelcome surprises, like a 1981 suicide note – from when Tricia was just 15. Simpson had never realized just how prone her little sister was to all-or-nothing thinking. She dove headlong into short-lived relationships and, when they failed, feared she would never find love again. Over the years Tricia grew increasingly paranoid, believing she was being watched on the farm and her sisters were plotting to sell the property and leave her with nothing. One time she even locked her parents in to keep them safe.
Although the subtitle is melodramatic, it conveys all that went unsaid in this family: not just sadness, but also love and tenderness. The cover image shows Simpson crying over a dead duckling; Tricia is at the left, her look of consternation startlingly intense for a three-year-old. “It’s only a duck. There’s plenty more where that came from” was their father’s hardhearted response. There are many other family photographs printed in black and white throughout the text; Tricia loved fashion, and is stunning in her glamour shots. While the book is probably overlong, I was absorbed in the family’s story, keen to see how Simpson would reconstruct events through objects, photographs and journals. (My sister is a Tricia, too.) Recommended to readers of Jill Bialosky’s History of a Suicide and Clover Stroud’s The Wild Other.
When I Had a Little Sister will be published by Fourth Estate on February 7th. My thanks to the publisher for an early proof copy for review.