My top ‘discoveries’ of the year: Chimamanda Ngozi Adichie (4 books), Octavia E. Butler, Tim Dee (3 books each, read or in progress), and Louise Erdrich (2 books, one in progress).
Also the publisher Little Toller Books: I read four of their releases this year and they were fantastic.
The authors I read the most by this year: Carol Shields tops the list at 6 books (3 of these were rereads) thanks to my buddy reads with Buried in Print, followed by Paul Auster with 5 due to Annabel’s reading week in February, then Chimamanda Ngozi Adichie with 4, and finally Anne Lamott with 3 comfort rereads.
Debut authors whose next work I’m most looking forward to: Naoise Dolan, Bess Kalb, Dara McAnulty, Mary South, Brandon Taylor, and Madeleine Watts
My proudest reading achievement: 16 rereads, which must be a record for me. Also, I always say I’m not really a short story person … and yet somehow I’ve read 19 collections of them this year (and one stand-alone story, plus another collection currently on the go)!
My proudest (non-reading) bookish achievement: Conceiving of and coordinating the Not the Wellcome Prize blog tour.
Five favorite blog posts of the year: Love, Etc. – Some Thematic Reading for Valentine’s Day; Polio and the Plague: Epidemics in Fiction; Thinking about the Future with David Farrier & Roman Krznaric (Hay Festival); Three Out-of-the-Ordinary Memoirs: Kalb, Machado, McGuinness; Asking What If? with Rodham by Curtis Sittenfeld (I had a lot of fun putting the current post together, too!)
The bookish experience that most defined my year: Watching the Bookshop Band’s live shows from their living room. Between their Friday night lockdown performances and one-offs for festivals and book launches, I think I saw them play 33 times in 2020!
Biggest book read this year: Going by dimensions rather than number of pages, it was the oversize hardback The Lost Words by Robert Macfarlane and Jackie Morris.
Smallest book read this year: Pocket-sized and only about 60 pages: No One Is Too Small to Make a Difference by Greta Thunberg.
Oldest author read this year: Peggy Seeger was 82 when her memoir First Time Ever was published. I haven’t double-checked the age of every single author, but I think second place at 77 is a tie between debut novelist Arlene Heyman for Artifact and Sue Miller for Monogamy. (I don’t know how old Michael McCarthy, Jeremy Mynott and Peter Marren, the joint authors of The Consolation of Nature, are; Mynott may actually be the oldest overall, and their combined age is likely over 200.)
Youngest author read this year: You might assume it was 16-year-old Dara McAnulty with Diary of a Young Naturalist, which won the Wainwright Prize (as well as the An Post Irish Book Award for Newcomer of the Year, the Books Are My Bag Reader Award for Non-Fiction, and the Hay Festival Book of the Year!) … or Thunberg, above, who was 16 when her book came out. They were indeed tied for youngest until, earlier in December, I started reading The House without Windows (1927) by Barbara Newhall Follett, a bizarre fantasy novel published when the child prodigy was 12.
Most As on a book cover: Americanah by Chimamanda Ngozi Adichie
Most Zs on a book cover: The Hiding Place by Trezza Azzopardi. I haven’t read it yet, but a neighbor passed on a copy she was getting rid of. It was nominated for both the Booker Prize and the Orange Prize.
The book that made me laugh the most: Kay’s Anatomy by Adam Kay
Books that made me cry: Writers and Lovers by Lily King, Monogamy by Sue Miller, First Time Ever by Peggy Seeger, and Catalogue Baby: A Memoir of (In)fertility by Myriam Steinberg (coming out in March 2021)
The book that put a song in my head every single time I looked at it, much less read it: I Am an Island by Tamsin Calidas (i.e., “I Am a Rock” by Simon and Garfunkel, which, as my husband pointed out, has very appropriate lyrics for 2020: “In a deep and dark December / I am alone / Gazing from my window to the streets below … Hiding in my room / Safe within my womb / I touch no one and no one touches me.”)
Best book club selections: Notes from an Exhibition by Patrick Gale and The Wife by Meg Wolitzer tied for our highest score ever and gave us lots to talk about.
Most unexpectedly apt lines encountered in a book: “People came to church wearing masks, if they came at all. They’d sit as far from each other as they could.” (Gilead by Marilynne Robinson. Describing not COVID-19 times but the Spanish flu.)
Most ironic lines encountered in a book: “September 12—In the ongoing hearings, Senator Joseph Biden pledges to consider the Bork nomination ‘with total objectivity,’ adding, ‘You have that on my honor not only as a senator, but also as the Prince of Wales.’ … October 1—Senator Joseph Biden is forced to withdraw from the Democratic presidential race when it is learned that he is in fact an elderly Norwegian woman.” (from the 1987 roundup in Dave Barry’s Greatest Hits – Biden has been on the U.S. political scene, and mocked, for 3.5+ decades!)
Best first line encountered this year: “And then there was the day when Addie Moore made a call on Louis Waters.” (Our Souls at Night by Kent Haruf)
Best last lines encountered this year:
- “my childhood falls silently to the bottom of my memory, that library of the soul from which I will draw knowledge and experience for the rest of my life.” (Childhood by Tove Ditlevsen)
- “What I want to say is: I misremember all this so vividly it’s as if it only happened yesterday.” (Other People’s Countries: A Journey into Memory by Patrick McGuinness)
- “these friends would forever be her stitches, her scaffold, her ballast, her home.” (The Dearly Beloved by Cara Wall)
My favorite title and cover combo of the year: A Registry of My Passage Upon the Earth by Daniel Mason
The book I wish had gotten a better title and cover: Tennis Lessons by Susannah Dickey – I did enjoy this second-person novel about a young woman who is her own worst enemy, to the tune of 3.5 stars, but the title says nothing about it and the cover would have been a turnoff had I not won a signed copy from Mslexia.
The most unfortunate typos I found in published works: In English Pastoral by James Rebanks, “sewn” where he meant “sown” (so ironic in a book about farming!) versus, in Mr Wilder & Me by Jonathan Coe, “sown” in place of “sewn.” Also “impassible” where it should read “impassable” in Apeirogon by Colum McCann. This is what proofreaders like myself are for. We will save you from embarrassing homophone slips, dangling modifiers, and more!
The 2020 books that everybody else loved, but I didn’t: The Mirror and the Light by Hilary Mantel, Hamnet by Maggie O’Farrell, and Shuggie Bain by Douglas Stuart
The year’s biggest disappointments: I don’t like to call anything “worst” (after all, I didn’t read anything nearly as awful as last year’s Jonathan Livingston Seagull), but my lowest ratings went to A Traveller at the Gates of Wisdom by John Boyne and At Hawthorn Time by Melissa Harrison, and I was disappointed that When the Lights Go Out by Carys Bray was misleadingly marketed.
The downright strangest books I read this year: Enter the Aardvark by Jessica Anthony, A Traveller at the Gates of Wisdom by John Boyne, The House Without Windows by Barbara Newhall Follett, and The Child in Time by Ian McEwan
The people and themes that kept turning up in my reading: Rachel Carson and Henry David Thoreau; curlews and plagues; how we define and relate to history; childhood memoirs (seven of them).
Some statistics on my 2020 reading:
(Fiction reigned supreme this year! Last year my F:NF ratio was roughly 1:1. Poetry was down by ~5% this year compared to 2019.)
Male author: 34.1%
Female author: 63.8%
Nonbinary author: 0.3% (= 1 author, Jay Bernard)
Multiple genders (anthologies): 1.8%
(Women dominated by an extra ~5% this year over 2019. I’ve said this for four years now: I find it intriguing that female authors significantly outweigh male authors in my reading because I have never consciously set out to read more books by women; it must be a matter of being interested in the kinds of stories women tell and how they capture their experiences in nonfiction.)
Print books: 89.4%
(Almost exactly the same as last year. My e-book reading has been declining, partially because I’ve cut back on the reviewing gigs that involve only reading e-books and partially because I’ve done less traveling. Increasingly, I prefer to sit down with a big stack of print books.)
Books by BIPOC: 14.7%
Literature in translation: 6.6%
(Down from last year’s 7.2%; how did this happen?! This will be something to address in 2021.)
Where my books came from for the whole year:
- Free print or e-copy from publisher: 25.6%
- Public library: 25.6%
- Free (giveaways, The Book Thing of Baltimore, the free mall bookshop, etc.): 14.9%
- Secondhand purchase: 11.6%
- Downloaded from NetGalley, Edelweiss or Project Gutenberg: 6.7%
- New purchase (sometimes at a bargain price): 6.3%
- Gifts: 5.5%
- University library: 3.8%
I promised to scale back on review copies this year, and I did: last year they accounted for nearly 37% of my reading. My library reading was higher than last year’s, despite the challenges of lockdowns; my e-book reading decreased in general. I bought more than twice as many new books as usual this year, and read lots that I either bought secondhand or got for free.
Number of unread print books in the house: 435
At the end of last year this figure was at 440 after lots of stock-ups from the free mall bookshop, which has since closed. So even though it might look like I have only read five books of my own, I have in fact read loads from my shelves this year … but also acquired many more books, both new and secondhand.
In any case, the overall movement has been downward, so I’m calling it a win!
Novellas in November will be coming to a close on Monday and has been a great success in terms of blogger engagement. I’ve been adding review links to the master post nearly every day of the month, and I’m sure there are some I have missed. Although I still have a couple of novellas on the go, I don’t see myself finishing them this month, so I’m going to end with this set: three short classics to continue the week’s theme, two graphic novels, and a pair of nature/art/music/poetry books.
Something Special by Iris Murdoch (1957)
A Murdoch rarity, this appeared in a 1950s anthology and in an English-language textbook in Japan, but was not otherwise published in the author’s lifetime. I think it’s her only short story. I’m counting it as a novella because it was published as a stand-alone volume by Vintage Classics in 2000. Twenty-four-year-old Yvonne Geary doesn’t know precisely what she wants from life, but hopes there might be more for her than a conventional marriage to Sam, her beau. “Can’t I live my life as I please since it’s the only thing I have?” she asks her hen-pecking mother. “I can’t see him as something special and I won’t marry him if I can’t.” Maybe she’ll escape to England. But for now she’s off for a night on the town in Dublin with Sam, going from a rowdy pub to the quiet of a locked-up park. Sam may be dull, but he seems sensitive, solicitous and well-meaning. Yvonne’s feelings for him flip-flop over the course of the evening. I’ve noticed before that Murdoch is a bit funny about Jewishness, but this is still a brisk, bittersweet story in the direct lineage of Sally Rooney’s Normal People. (With striking black-and-white woodcut-style illustrations by Michael McCurdy.)
The Fairacre Festival by ‘Miss Read’ (1968)
I’m not sure why I’d never tried anything by ‘Miss Read’ (the pseudonym of Dora Jessie Saint, a teacher turned author who was based not far from me in Berkshire) until now. She wrote two series of quaint novels set in the fictional villages of Fairacre and Thrush Green; this is #7 in the Fairacre series. Miss Read, her narrator, is a schoolteacher who records her wry observations of all the local happenings. After an autumn storm damages the church roof, the parishioners are dismayed to learn the renovations could cost £2000. No amount of jumble sales, concerts and tea dances will raise that much. So they set their sights higher, to an Edinburgh-style festival with a light show and an appearance from a famous opera singer. But it’s not going to be smooth sailing now, is it? This was cozy, quaint fun, and if I wished it had been a full-length book, that means I’ll just have to begin at the beginning with 1955’s Village School.
The Driver’s Seat by Muriel Spark (1970)
Lise has her “glad rags” on – bright new clothes in clashing patterns that strangers can’t help commenting on. The 34-year-old single woman has worked in an accounting office for the last 16 years and is now off to the South (Italy?) for a long-awaited vacation. This will be no blissful holiday, though. Just 11 pages in, we get our first hint that things are going to go wrong, and in the opening line of Chapter 3 Spark gives the game away. Clearly, her intention is to subordinate what happens to why it happens, so the foreshadowing of the early chapters is twisted to ironic effect later on. Lise is an unappealing character, haughty and deceitful, and the strangers she meets on the flight and at the hotel, including a man obsessed with the macrobiotic diet, are little better. I felt I didn’t have enough time to change my mind about Lise before we’re asked to have pity. Of course, this is meant to be a black comedy, but it was a little abrasive for my taste. This was my third and probably last from Spark, as I haven’t particularly enjoyed any of her work; I do love this pithy description of The Ballad of Peckham Rye, though: “An entertaining tale of satanism in South London.”
Why Don’t You Write My Eulogy Now So I Can Correct It? A Mother’s Suggestions by Patricia Marx, illus. Roz Chast (2019)
I loved Chast’s graphic memoir Can’t We Talk about Something More Pleasant? and figured this would have the same witty approach to an elderly parent’s decline. Apart from a brief introduction to her mother (from Philadelphia, outspoken, worked as a guidance counselor and for her husband’s office supplies company), there is hardly any text; the rest is just illustrated one-liners, sayings her mother had or opinions she espoused. Many of these have to do with fashion no-nos, dinner party etiquette, grammar pedantry, avoiding the outdoors and exercise, and childrearing. “My mother never hesitates to say what other mothers would not even think to think. She calls it constructive criticism.” She reminds me of Bess Kalb’s grandmother in Nobody Will Tell You This but Me, an overall much funnier and more complete picture of an entertaining figure.
The Exciting World of Churchgoing by Dave Walker (2010)
A third set of Church Times comics, not as memorable as the original Dave Walker Guide to the Church. Once again, Walker pokes fun at bureaucracy, silly traditions, closed-mindedness, and the oddities of church buildings and parishioners’ habits. You really need to be familiar with the UK churchgoing scene, and specifically with Anglican churches, to get much out of the cartoons. I loved “According to legend, there is a lady who changes the teatowels in the church kitchen from time to time” and the “Infestations” spread that starts with bats and wasps and moves on to Charismatics. Most striking are two pages on church proceedings during swine flu – what was meant to be a joke doesn’t seem so funny now that it literally describes in-person services during COVID-19: “Shaking hands during the peace should be replaced by a friendly wave,” “Administration of anti-bacterial gel should take place,” etc.
The Lost Words: A Spell Book by Robert Macfarlane, illus. Jackie Morris (2017)
Macfarlane’s work has been hit or miss for me and I was suspicious of this project in general, thinking it would be twee or juvenile, but the beauty of the artwork and playful energy of the poems won me over. It’s common knowledge that this book arose as a response to news that many words to do with nature had been removed from the latest version of a junior dictionary published in the UK, to be replaced by technology vocabulary. Macfarlane spotlights these omitted words through acrostic poems alive with alliteration (“Fern’s first form is furled, / Each frond fast as a fiddle-head”), wordplay and internal rhymes. He peppers in questions, both rhetorical and literal-minded, and exclamations. Conker, Dandelion, Lark and Otter are highlights. Morris’s wildlife paintings are superb, with a Giotto-like gilt portrait facing each poem and two-page in situ tableaux in between.
The Lost Words Spell Songs (2019)
I followed up immediately with this companion book to the 14-track album a group of eight folk musicians made in response to The Lost Words. We were already fans of Kris Drever (mostly via Lau), Karine Polwart and Beth Porter (via the Bookshop Band), and became familiar with a few more of the artists (Kerry Andrew, Julie Fowlis and Rachel Newton) earlier this year through the online Folk on Foot festivals. This volume includes six additional poems, four of which directly inspired songs on the album, plus brief bios and words on the project from each artist (each portrayed by Morris as a relevant bird, with the musician serving as the “spirit human” for the bird) the complete lyrics with notes from whoever took the lead on a particular song, and short essays by Macfarlane, Morris (also an interview) and Polwart.
It was interesting to compare the different approaches to the project: five songs directly set Macfarlane’s poetry to music, two of them primarily in spoken word form; five are based on Macfarlane “extras,” like the new spells and the “charm against harm” he wrote during anti-tree felling campaigns like the one in Sheffield; a few are essentially pop songs based around major lines from Dandelion, Goldfinch and Lark (these plus “Selkie-Boy,” based on Grey Seal, ended up being my favorites); one is a traditional song from Seckou Keita’s native Senegal that also incorporates the bilingual Fowlis’s Gaelic to mourn the words that are lost with the past; and one is a final blessing song that weaves in bits from multiple spells. The artists all bring their individual styles, but the collaborations are strong, too.
Are you squeezing in any more novellas this month?
Do you like the sound of any of the ones I’ve read?
Recently I have found myself drawn to memoirs that experiment with form. I’ve read so many autobiographical narratives at this point that, if it’s to stand out for me, a book has to offer something different, such as a second-person point-of-view or a structure of linked essays. Here are a few such that I’ve read this year but not written about yet. All have strong themes of memory and the creation of the self or the family.
Nobody Will Tell You This But Me: A True (As Told to Me) Story by Bess Kalb (2020)
You know from the jokes: Jewish (grand)mothers are renowned for their fiercely protective, unconditional love, but also for their tendency to nag. Both sides of a stereotypical matriarch are on display in this funny and heartfelt family memoir, narrated in the second person – as if straight to Kalb from beyond the grave – by her late grandmother, Barbara “Bobby” Bell.
Bobby gives her beloved Bessie a tour through four generations of strong women, starting with her own mother, Rose, and her lucky escape from a Belarus shtetl. The formidable émigré ended up in a tiny Brooklyn apartment, where she gave birth to five children on the dining room table. Bobby and her husband, a real estate entrepreneur and professor, had one daughter, Robin, who in turn had one daughter, Bess. Bobby and Robin had a fraught relationship, but Bess’s birth seemed to reset the clock. Grandmother and granddaughter had a special bond: Bobby was the one to take her to preschool and wait outside the door until she was sure she’d be okay, and always the one to pick her up from sleepovers gone wrong.
Kalb is a Los Angeles-based writer for Jimmy Kimmel Live! With her vivid scene-setting and comic timing, you can see why she’s earned a Writers Guild Award and an Emmy nomination. But she also had great material to work with: Bobby’s e-mails and verbatim voicemail messages are hilarious. Kalb dots in family photographs and recreates in-person and phone conversations, with her grandmother forthrightly questioning her fashion choices and non-Jewish boyfriend. As the title phrase shows, Bobby felt she was the only one who would come forward with all this (unwanted but) necessary advice. Kalb keeps things snappy, alternating between narrative chapters and the conversations and covering a huge amount of family history in just 200 pages. It gets a little sentimental towards the end, but with her grandmother’s death still fresh you can forgive her that. This was a real delight.
My thanks to Zoe Hood and Kimberley Nyamhondera of Little, Brown (Virago) for the free PDF copy for review.
In the Dream House: A Memoir by Carmen Maria Machado (2019)
I’m stingy with 5-star ratings because, for me, giving a book top marks means a) it’s a masterpiece, b) it’s a game/mind/life changer, and/or c) it expands the possibilities of its particular genre. In the Dream House fits all three criteria. (Somewhat to my surprise, given that I couldn’t get through more than half of Machado’s acclaimed story collection, Her Body and Other Parties, and only enjoyed it in parts.)
Much has been written about this memoir of an abusive same-sex relationship since its U.S. release in November. I feel I have little to add to the conversation beyond my deepest admiration for how it prioritizes voice, theme and scenes; gleefully does away with the chronology and (not directly relevant) backstory – in other words, the boring bits – that most writers would so slavishly detail; and engages with history, critical theory and the tropes of folk tales to constantly interrogate her experiences and perceptions.
Most of the book is, like the Kalb, in the second person, but in this case the narration is not addressing a specific other person; instead, it’s looking back at the self that was caught in this situation (“If, one day, a milky portal had opened up in your bedroom and an older version of yourself had stepped out and told you what you know now, would you have listened?”), as well as – what the second person does best – putting the reader right into the narrative.
The “Dream House” is the Victorian house where Machado lived with her ex-girlfriend in Bloomington, Indiana for two years while she started an MFA course. It was a paradise until it wasn’t; it was a perfect relationship until it wasn’t. No one, least of all her, would have believed the perky little blonde writer she fell for would turn sadistic. A lot of it was emotional manipulation and verbal and psychological abuse, but there was definitely a physical element as well. Fear and self-doubt kept her trapped in a fairy tale that had long since turned into a nightmare. Writing it all out seven years later, the trauma was still there. Yet there was no tangible evidence (a police report, a restraining order, photos of bruises) to site her abuse anywhere outside of her memory. How fleeting, yet indelible, it had all been.
The book is in relatively short sections headed “Dream House as _________” (fill in the blank with everything from “Time Travel” to “Confession”), and the way that she pecks at her memories from different angles is perfect for recreating the spiral of confusion and despair. She also examines the history of our understanding of queer domestic violence: lesbian domestic violence, specifically, wasn’t known about until 30-some years ago.
The story has a happy ending in that Machado is now happily married. The bizarre twist, though, is that her wife, YA author Val Howlett, was the girlfriend of the woman in the Dream House when they first met. To start with, it was an “open relationship” (or at least the blonde told her so) that Machado reluctantly got in the middle of, before Val drifted away. That the two of them managed to reconnect, and got past their mutual ex, is truly astonishing. (See some super-cute photos from their wedding here.)
Some favorite lines:
“Clarity is an intoxicating drug, and you spent almost two years without it, believing you were losing your mind”
“That there’s a real ending to anything is, I’m pretty sure, the lie of all autobiographical writing. You have to choose to stop somewhere. You have to let the reader go.”
I read an e-copy via NetGalley.
Other People’s Countries: A Journey into Memory by Patrick McGuinness (2014)
This is a wonderfully atmospheric tribute to Bouillon, Belgium, a Wallonian border town with its own patois. However, it’s chiefly a memoir about the maternal side of the author’s family, which had lived there for generations. McGuinness grew up spending summers in Bouillon with his grandparents and aunt. Returning to the place as an adult, he finds it half-derelict but still storing memories around every corner.
It is as much a tour through memory as through a town, reflecting on how our memories are bound up with particular sites and objects – to the extent that I don’t think I would find McGuinness’s Bouillon even if I went back to Belgium. “When I’m asked about events in my childhood, about my childhood at all, I think mostly of rooms. I think of times as places, with walls and windows and doors,” he writes. The book is also about the nature of time: Bouillon seems like a place where time stands still or moves more slowly, allowing its residents (including his grandfather, and Paprika, “Bouillon’s laziest man, who held a party to celebrate sixty years on the dole”) a position of smug idleness.
The book is in short vignettes, some as short as a paragraph; each is a separate piece with a title that remembers a particular place, event or local character. Some are poems, and there are also recipes and an inventory. The whole is illustrated with frequent period or contemporary black-and-white photographs. It’s an altogether lovely book that overcomes its narrow local interest to say something about how the past remains alive for us.
Some favorite lines:
“that hybrid long-finished but real-time-unfolding present tense … reflects the inside of our lives far better than those three stooges, the past, present and future”
a fantastic last line: “What I want to say is: I misremember all this so vividly it’s as if it only happened yesterday.”
I read a public library copy.
Other unusual memoirs I’ve loved and reviewed here:
Notes Made while Falling by Jenn Ashworth (essays, experimental structures)
Winter Journal by Paul Auster (second person)
This Really Isn’t about You by Jean Hannah Edelstein (nonchronological)
Traveling with Ghosts by Shannon Leone Fowler (short sections and time shifts)
The Lost Properties of Love by Sophie Ratcliffe (nonchronological essays)