This year I correctly predicted Shuggie Bain by Douglas Stuart and Surge by Jay Bernard as the winners of the Booker Prize and the Sunday Times Young Writer of the Year Award, respectively. Patting myself on the back!
(Earlier in the year, I had a feeling Maggie O’Farrell would win the Women’s Prize, but wasn’t confident enough to single her out; and I got the Wainwright Prizes all wrong.)
I watched both the Booker Prize (live) and Young Writer of the Year Award (pre-recorded) ceremonies online; not having to secure an invitation or pay £30 for the train into London has been an ongoing bonus of pandemic arrangements.
The Booker ceremony was nicely tailored to viewers at home, incorporating brief, informal pre-recorded interviews with each nominated author and a video chat between last year’s winners, Margaret Atwood and Bernardine Evaristo. When Evaristo asked Atwood about the difference between winning the Booker in 2019 versus in 2000, she replied, deadpan, “I was older.” I especially liked the short monologues that well-known UK actors performed from each shortlisted book. Only a few people – the presenter, Evaristo, chair of judges and publisher Margaret Busby, and a string quartet – appeared in the studio, while all the other participants beamed in from other times and places. Stuart is only the second Scottish winner of the Booker, and seemed genuinely touched for this recognition of his tribute to his mother.
I’ve attended the Young Writer ceremony at the London Library twice: in 2017, when I was on the shadow panel, and again last year. It was a shame not to be able to meet up with fellow bloggers and the shortlisted authors, but I appreciated hearing the judges’ thoughts on each nominee. Tessa Hadley said the whole shortlist was “so full of young energy.” Kit de Waal called Catherine Cho’s Inferno “an absolute page-turner.” All the judges remarked at how funny, cutting and original Naoise Dolan’s Exciting Times is. Critic Houman Barekat referred to Seán Hewitt’s Tongues of Fire as “unabashedly earnest.” Hadley said Marina Kemp’s Nightingale is just the kind of novel she loves, a “delicate, full notation,” and Barekat observed that it is a timely reminder of the value of care work.
It was clear that, for the judges, all five books were terrifically accomplished and would be worthy winners. Still, the unanimous decision was in favor of Surge, which Sunday Times literary editor Andrew Holgate said is “remarkable for its passionate engagement and diversity of voices.” Bernard read “Hiss” (also up on the Granta website) and said that “poems can take on another life” through performance and short films, so the poet can’t predict whether they will stay in poetry or branch out into other genres.
Back on 18 November, I attended another online event to which I’d gotten a last-minute invitation: a “book club” featuring Tracy Chevalier in conversation with her literary agent, Jonny Geller, on Girl with a Pearl Earring at 20 and her new novel, A Single Thread. In 1996 she sent Geller a letter asking if he’d read Virgin Blue, which she’d written for the MA at the University of East Anglia – the only UK Creative Writing course out there at the time. After VB, she started a contemporary novel set at Highgate Cemetery, where she was a tour guide. It was to be called Live a Little (since a Howard Jacobson title). But shortly thereafter, she was lying in bed one day, looking at a Vermeer print on the wall, and asked herself what the look on the girl’s face meant and who she was. She sent Geller one page of thoughts and he immediately told her to stick Live a Little in a drawer and focus on the Vermeer idea.
Intriguingly, Chevalier stated that the deadline of her pregnancy determined the form of Girl with a Pearl Earring: she knew she had to keep things simple, with a linear narrative, one point of view, and spare prose. While the novel had a quiet publication in August 1999, a good review from Deborah Moggach helped, and it became a “word of mouth success,” never hitting #1 but selling continuously. Chevalier believes this was due to a rare coming together of story and writing; sometimes good stories are hampered by mediocre writing, or vice versa. She and Geller discussed the strange coincidence of two other Vermeer novels coming out at the same time (e.g. Girl in Hyacinth Blue by Susan Vreeland); she had the good luck of being the victor. The film version is “lovely,” she said. Geller has never forgotten Scarlett Johansson, who turned 18 on set, leaving her gum in during a cast supper of spaghetti.
Chevalier’s actual Highgate novel, Falling Angels, didn’t borrow at all from her contemporary-set draft as it was set in 1900. Incorporating suffragette history, it felt like an untold story ripe for the plucking. Falling Angels has long been the one I consider my favorite Chevalier – as of last month, when we did The Last Runaway in book club, I’ve read all her work – but after this event I’m eager to reread it and GwaPE to see what I think.
Lastly, Chevalier and Geller talked about her new novel, A Single Thread, which was conceived before Trump and Brexit but had its central themes reinforced by the constant references back to 1930s fascism during the Trump presidency. She showed off the needlepoint spectacles case she’d embroidered for the novel. This wasn’t the first time she’d taken up a craft featured in her fiction: for The Last Runaway she learned to quilt, and indeed still quilts today. Geller likened her to a “method actor,” and jokingly fretted that they’ll lose her to one of these hobbies one day. Chevalier’s work in progress features Venetian glass. I’m already looking forward to it.
Like me, she moved to England from the Washington, D.C. area and has never lost the ‘accent’, so I feel like she’s a kindred spirit.
Bookish online events coming up soon: Penguin book quiz, followed by book club holiday social (a Zoom meeting with glasses of wine in hand!), on the 15th
Have you taken advantage of any online literary events recently?
It’s my seventh month in a row doing Six Degrees. This time (see Kate’s introductory post) we all start with How to Do Nothing by Jenny Odell, about time and mindfulness. I’ve not read this 2019 release, but its premise reminds me of two books I reviewed a couple of years ago for this Los Angeles Review of Books article on the benefits of “wasting time.”
#1 One of those books was The Art of the Wasted Day by Patricia Hampl. The book blends memoir with travel and biographical information about some of Hampl’s exemplars of solitary, introspective living. Her book wanders along with her mind, in keeping with her definition of memoir as “lyrical quest literature,” where meaning always hovers above the basics of plot.
#2 The hot air balloon on the cover takes me to Enduring Love by Ian McEwan. It opens, famously, with a fatal ballooning accident that leaves the witnesses guiltily wondering whether they could have done more. Freelance science journalist Joe Rose – on a picnic with his partner, Keats scholar Clarissa – rushed to help, as did Jed Parry, a young Christian zealot who fixates on Joe. I recently borrowed a DVD of the film from a neighbor and it somehow felt even darker and creepier. (Strangely, the two main characters’ jobs were changed to philosophy professor and sculptor – were those considered easier to show on film?)
#3 A quote from McEwan on the cover convinced my book club to read the mediocre She’s Not There by Tamsin Grey. (I think the author was also a friend of a friend of someone in the group.) One morning, nine-year-old Jonah wakes up to find the front door of the house open and his mum gone. It takes just a week for the household to descend into chaos as Jonah becomes sole carer for his foul-mouthed little brother, six-year-old Raff. In this vivid London community, children are the stars and grown-ups, only sketchily drawn, continually fail them.
#4 The readalike that came to mind when reading Grey’s novel was Pigeon English by Stephen Kelman, set on a similarly rough London estate. It was on the notorious 2011 Man Booker Prize shortlist (a judge spoke of looking for books that “zip along”; the right author won – Julian Barnes – but for a book I did not particularly enjoy, The Sense of an Ending). The novel is narrated by eleven-year-old Harrison Opoku, who is newly arrived in England from Ghana and turns sleuth when one of his young acquaintances is found murdered.
#5 According to my Goodreads library, the only other book I’ve read with “pigeon” in the title is Golden Bats and Pink Pigeons by Gerald Durrell. I love his animal-collecting adventure books, although this one set on Mauritius did not particularly stand out.
#6 The Mauritius location, plus a return to the “pigeon/pidgin” pun of the Kelman title, leads me to my final book, Genie and Paul by Natasha Soobramanien, about a brother and sister pair who left Mauritius for London as children and still speak Creole when joking. I reviewed this postcolonial response to Paul et Virginie (1788), the classic novel by Jacques-Henri Bernardin de Saint-Pierre, for Wasafiri literary magazine in 2013. It was among my first professional book reviews, and I’ve enjoyed reviewing occasionally for Wasafiri since then – it gives me access to small-press books and BAME authors, which I otherwise don’t read often enough.
Join us for #6Degrees of Separation if you haven’t already! Next month’s starting book will be Rodham by Curtis Sittenfeld (see my review).
Have you read any of my selections?
Are you tempted by any you didn’t know before?
My best discoveries of the year: The poetry of Tishani Doshi; Penelope Lively and Elizabeth Strout (whom I’d read before but not fully appreciated until this year); also, the classic nature writing of Edwin Way Teale.
The authors I read the most by this year: Margaret Atwood and Janet Frame (each: 2 whole books plus parts of 2 more), followed by Doris Lessing (2 whole books plus part of 1 more), followed by Miriam Darlington, Paul Gallico, Penelope Lively, Rachel Mann and Ben Smith (each: 2 books).
Debut authors whose next work I’m most looking forward to: John Englehardt, Elizabeth Macneal, Stephen Rutt, Gail Simmons and Lara Williams.
My proudest reading achievement: A 613-page novel in verse (Mary Ann Sate, Imbecile by Alice Jolly) + 2 more books of over 600 pages (East of Eden by John Steinbeck and Cutting for Stone by Abraham Verghese).
Best book club selection: Red Dust Road by Jackie Kay was our first nonfiction book and received our highest score ever.
Some best first lines encountered this year:
- “What can you say about a twenty-five-year old girl who died?” (Love Story by Erich Segal)
- “The women of this family leaned towards extremes” (Away by Jane Urquhart)
- “The day I returned to Templeton steeped in disgrace, the fifty-foot corpse of a monster surfaced in Lake Glimmerglass.” (from The Monsters of Templeton by Lauren Groff)
The downright strangest book I read this year: Lanny by Max Porter
The 2019 books everybody else loved (or so it seems), but I didn’t: Fleishman Is in Trouble by Taffy Brodesser-Akner, The Topeka School by Ben Lerner, Underland by Robert Macfarlane, The Boy, The Mole, The Fox and The Horse by Charlie Mackesy, Three Women by Lisa Taddeo and The Nickel Boys by Colson Whitehead
The year’s major disappointments: Cape May by Chip Cheek, We Are the Weather: Saving the Planet Begins at Breakfast by Jonathan Safran Foer, Letters to the Earth: Writing to a Planet in Crisis, ed. Anna Hope et al., Bowlaway by Elizabeth McCracken, Rough Magic: Riding the World’s Loneliest Horse Race by Lara Prior-Palmer, The Lager Queen of Minnesota by J. Ryan Stradal, The Knife’s Edge by Stephen Westaby and Frankissstein by Jeanette Winterson
The worst book I read this year: Jonathan Livingston Seagull by Richard Bach
Some statistics on my 2019 reading:
(As usual, fiction and nonfiction are neck and neck. I read a bit more poetry this year than last.)
Male author: 39.4%
Female author: 58.9%
Nonbinary author (the first time this category has been applicable for me): 0.85%
Multiple genders (anthologies): 0.85%
(I’ve said this the past three years: I find it interesting that female authors significantly outweigh male authors in my reading; I have never consciously set out to read more books by women.)
Print books: 89.7%
(My e-book reading has been declining year on year, partially because I’ve cut back on the reviewing gigs that involve only reading e-books and partially because I’ve done less traveling; also, increasingly, I find that I just prefer to sit down with a big stack of print books.)
Work in translation: 7.2%
(Lower than I’d like, but better than last year’s 4.8%.)
Where my books came from for the whole year:
- Free print or e-copy from publisher: 36.8%
- Public library: 21.3%
- Secondhand purchase: 13.8%
- Free (giveaways, The Book Thing of Baltimore, the free mall bookshop, etc.): 9.2%
- Downloaded from NetGalley, Edelweiss or Project Gutenberg: 7.8%
- Gifts: 4.3%
- University library: 2.9%
- New purchase (usually at a bargain price): 2.9%
- Church theological library: 0.8%
- Borrowed: 0.2%
(Review copies accounted for over a third of my reading; I’m going to scale way back on this next year. My library reading was similar to last year’s; my e-book reading decreased in general; I read more books that I either bought new or got for free.)
Number of unread print books in the house: 440
(Last thing I knew the figure was more like 300, so this is rather alarming. I blame the free mall bookshop, where I volunteer every Friday. Most weeks I end up bringing home at least a few books, but it’s often a whole stack. Surely you understand. Free books! No strings attached!)
“The fallen Congo came to haunt even our little family, we messengers of goodwill adrift on a sea of mistaken intentions.”
You may have gathered by now that I struggle with rereading. Often I find that on a second reading a book doesn’t live up to my memory of it – last year I reread just four books, and I rated each one a star lower than I had the first time. But that wasn’t the case with my September book club book, Barbara Kingsolver’s The Poisonwood Bible, which I’ve just flown through in 11 days. I first read it in the spring of 2002 or 2003, so maybe it’s that I’d allowed enough time to pass for it to be almost completely fresh – or that I was in a better frame of mind to appreciate its picture of harmful ideologies in a postcolonial setting. In any case, this time it struck me as a masterpiece, and has instantly leapt onto my favorites list.
Here’s what I’d remembered about The Poisonwood Bible after the passage of 16–17 years:
- It’s about a missionary family in Africa, and narrated by the daughters.
- One of the sisters marries an African.
- The line “Nathan was made frantic by sex” (except I had it fixed incorrectly in my mind; it’s actually “Nathan was made feverish by sex”).
Everything else I’d forgotten. Here’s what stood out on my second reading:
- Surely one of the best opening lines ever? (Though technically there’s a prologue that comes before it.) “We came from Bethlehem, Georgia, bearing Betty Crocker cake mixes into the jungle.”
- The book is actually narrated in turns by the wife and four daughters of Southern Baptist missionary Nathan Price, who arrives in the Congo with his family in 1959. These five voices are a triumph of first-person narration, so distinct and arising organically from the characters’ personalities and experiences. The mother, Orleanna, writes from the future in despondent isolation – a hint right from the beginning that this venture is not going to end well. Fifteen-year-old Rachel is a selfish, ditzy blonde who speaks in malapropisms and period slang and misses everything about American culture. Leah, one of the 13-year-olds, is whip-smart and earnest; she idolizes their father and echoes his religious language. Her twin, Adah, who was born with partial paralysis, rarely speaks but has an intricate inner life she expresses through palindromes, cynical poetry and plays on words. And Ruth May, just five years old, sees more than she understands and sets it all across plainly but wittily.
- Nathan’s arrogant response to the ‘native customs’ is excruciating. His first prayer, spoken to bless the meal the people of Kilanga give in welcome, quickly becomes a diatribe against nakedness, and he later rails against polygamy and witch doctors and tries to enforce child baptism. When he refuses to take their housekeeper Mama Tataba’s advice on planting, all of the seeds he brought from home wash away in the first rainstorm. On a second attempt he meekly makes the raised beds she recommended, and keeps away from the poisonwood that made him break out in a nasty rash. This garden he plants is a metaphor for control versus adaptation.
- Brother Fowles, Nathan’s predecessor at the mission, is proof that Christianity doesn’t have to be a haughty rampage. He respects Africans enough to have married one, and his religion is a playful, elastic one built around love and working alongside creation.
- The King James Bible (plus Apocrypha, for which Nathan harbors a strange fondness) provides much of the book’s language and imagery, as well as the section headings. Many of these references come to have (sometimes mocking) relevance. Kingsolver also makes reference to classics of Africa-set fiction, like Chinua Achebe’s Things Fall Apart and Joseph Conrad’s Heart of Darkness.
- Africa is a place of many threats – malaria and dysentery, snakes in the chicken house, swarms of ants that eat everything in their path, corruption, political coups and assassinations – not least the risk of inadvertently causing grave cultural offense.
- The backdrop of the Congo’s history, especially the declaration of independence in 1960 and the U.S.-led “replacement” (by assassination) of its first prime minister, Patrice Lumumba, with the dictator Mobutu, is thorough but subtle, such that minimal to no Googling is required to understand the context. (Only in one place, when Leah and Rachel are arguing as adults, does Kingsolver resort to lecturing on politics through dialogue, as she does so noticeably in Unsheltered.)
- Names are significant, as are their changes. With the end of colonialism Congo becomes Zaire and all its cities and landmarks are renamed, but the change seems purely symbolic. The characters take on different names in the course of the book, too, through nicknames, marriage or education. Many African words are so similar to each other that a minor mispronunciation by a Westerner changes the meaning entirely, making for jokes or irony. And the family’s surname is surely no coincidence: we are invited to question the price they have paid by coming to Africa.
- We follow the sisters decades into the future. “Africa has a thousand ways to get under your skin,” Leah writes; “we’ve all ended up giving up body and soul to Africa, one way or another.” Three of the four end up staying there permanently, but disperse into different destinies that seem to fit their characters. Even those Prices who return to the USA will never outrun the shadow the Congo has left on their lives.
What an amazing novel about the ways that right and wrong, truth and pain get muddied together. Some characters are able to acknowledge their mistakes and move on, while others never can. As Adah concludes, “We are the balance of our damage and our transgressions.”
I worried it would be a challenge to reread this in time to hand it over for my husband to take on his week-long field course in Devon, but it turned out to be a cinch. That’s the mark of success of a doorstopper for me: it’s so engrossing you hardly notice how long the book is. I think this will make for our best book club discussion yet. I can already think of a few questions to ask – Is it fair that Nathan never gets to tell his side of the story? Which of the five voices is your favorite? Who changes and who stays the same over the course of the book? – and I’m sure I’ll find many more resources online since this was an Oprah’s Book Club pick too.
English singer-songwriter Anne-Marie Sanderson’s excellent Book Songs, Volume 1 EP includes the song “Poisonwood.” The excerpted lyrics are below, with direct quotes from the text in bold.
Our Father speaks for all of us
Our Father knows what’s best for us as well
He planted a garden where poisonwood grew
He cut down the orchids cos none of us knew
that the seeds that filled his pockets
would grow and grow without stopping
his beans, his Kentucky Wonders
played their part in tearing us asunder.
Our mother suffered through all of this
Our mother carried the guilt
Carry us, marry us, ferry us, bury us
Carry us, bury us with the poisonwood.
Page count: 615
This was my neighborhood book club’s selection for January – a good excuse to also use it for relaunching my Classic of the Month feature. It was 22 months ago (how?!) that I featured Anne Brontë’s The Tenant of Wildfell Hall (1848) as my monthly classic; ever since, I’ve meant to read Anne’s only other novel, Agnes Grey (1847). I’ve now read all the Brontë sisters’ works apart from Shirley, an obscure one by Charlotte. I’d recommend Agnes Grey as a short, accessible classic that echoes Jane Austen with its realistic picture of money/class and romance in nineteenth-century England.
The first-person narrative tells the highly autobiographical tale of a young woman who becomes a governess to support her impoverished family. Agnes is the daughter of a clergyman who makes a poor investment and loses everything, then falls ill. Her sister Mary can make money from her paintings, but with no particular skills and no other choice Agnes sets out to be a governess, first for the Bloomfield family at Wellwood House. The master is exacting and difficult to please, and her four charges are all unruly and obstinate. Worst of all is Tom, who seems almost autistic – he goes into rages and has to be held to calm him down. But the way Agnes writes about these children, it’s as if she thinks they’re not just naughty, but evil. Tom’s wanton cruelty to animals is wielded as a surefire sign of his badness.It’s a very moral book in general. Some book club folk even called it “Puritanical” for the way it dwells on goodness versus selfishness. When Agnes imagines how her pupils might describe her in the future, she concludes (speaking of herself), “she was always thinking of what was right and what was wrong, and had a strange reverence for matters connected with religion.” Unlike Jane Eyre, though, Agnes does little to stand up for herself in situations of injustice. For instance, when the Bloomfields put their children’s misbehavior down to Agnes’s lack of fitness for the role and dismiss her before a year has passed, she simply tries again, and soon finds a new governess position with the Murrays of Horton Lodge.
Here her main charge is the vain, supercilious teenager Rosalie, who, once she realizes Agnes admires the curate, Edward Weston, sets about sidelining Agnes and making him fall for her instead. Agnes is up front with the reader about her feelings for Weston, as in the chapter entitled “Confessions,” and she understands what’s going on with Rosalie’s scheming, but does nothing to combat it, just meekly steps back and lets things play out. Only internally does she allow herself to cry out at the unfairness of it all: “I have lived nearly three-and-twenty years, and I have suffered much, and tasted little pleasure yet: is it likely my life all through will be so clouded?” The Brontës all led fairly sad and small lives. Without giving specific spoilers, I’ll say that Agnes Grey gives Anne the happy ending she didn’t get in life.The whole book club enjoyed this one. We talked a lot about the choices the middle class would have had in those days, and how difficult life was for women who weren’t of the servant class yet didn’t have the family money to ensure their comfort. We found the first-person voice immediately engaging, especially with the occasional confiding asides to the reader, and the style is easier than what you get from a lot of the Victorian classics.
Next month: Doing double duty as my classic and doorstopper will be East of Eden by John Steinbeck, which I’m doing as a buddy read with my mother – we’ll exchange thoughts via e-mail.
I know that a number of you have long-term, faithful book clubs. Boy, am I envious! You might find it surprising that I’ve only ever been in one traditional book club, and it wasn’t a resounding success. Partway through my time working for King’s College, London, an acquaintance from another library branch started the club. A group of five to eight of us from Library Services aimed to meet after work one evening a month at a Southbank venue or a staff room to discuss our latest pick. By poring over old e-mails and my Goodreads library, I’ve managed to remember 10 of the books we read between November 2011 and June 2013:
- Do Androids Dream of Electric Sheep?, Philip K. Dick [classic science fiction]
- The Little Shadows, Marina Endicott [Canadian historical fiction]
- A Spot of Bother, Mark Haddon [contemporary fiction]
- The Talented Mr. Ripley, Patricia Highsmith [classic suspense]
- The Vintner’s Luck, Elizabeth Knox [bizarre historical fiction/magic realism]
- What Was Lost, Catherine O’Flynn [contemporary fiction]
- Franny and Zooey, J.D. Salinger [classic short fiction]
- The Rabbi’s Cat, Joann Sfar [graphic novel in translation]
- Girl Meets Boy, Ali Smith [an update of Greek myth]
- Angel, Elizabeth Taylor [an obscure English classic]
That may well be the complete list. Although I was a member for 20 months until I quit to go freelance, we often only managed to meet every other month because we couldn’t find a mutually convenient free evening or no one had read the book in time. I was consistently frustrated that – even when our selections were only about 200 pages long – I was often one of the only people to have read the whole book.
Overall, the quality of books we chose struck me as mediocre: I rated half of these books 2 stars, and the rest 3 stars. (I think I was a harsher rater then, but it’s not a good sign, is it?) Perhaps this is part of the inevitable compromising that goes with book clubs, though: You humor other people in their choices and hope they’ll be kind about yours? My suggestion, for the record, was the pretty dismal Little Shadows, for which I got a free set of book club copies to review for Booktime magazine. But I also voted in favor of most of the above list.
Looking back, I am at least impressed by how varied our selections were. People were interested in trying out different genres, so we ranged from historical fiction to sci-fi, and even managed a graphic novel. But when we did get together for discussion there was far too much gossipy chat about work, and when we finally got around to the book itself the examination rarely went deeper than “I liked it” or “I hated all the characters.”
If it was profound analysis I was after, I got that during the years I volunteered at Greenbelt, an annual summer arts festival with a progressive Christian slant. I eagerly read the eclectic set of three books the literature coordinator chose for book club meetings in 2010 – Star of the Morning: The Extraordinary Life of Lady Hester Stanhope by Kirsten Ellis, The First Person and Other Stories by Ali Smith, and The Bridge of San Luis Rey by Thornton Wilder – and then as a literature volunteer for the next three years I read and prepared copious notes and questions about our festival “Big Read.” We did Exile by Richard North Patterson in 2011, Dark Eden by Chris Beckett in 2012 and So Many Ways to Begin by Chris Beckett in 2013, and each time I offered to chair the book club meetings.
Unfortunately, due at least in part to logistical considerations, these were run in the way many festival events are: a panel of two to five talking heads with microphones was at the front of the tent, sometimes on a raised dais, while the audience of whatever size sat towards the back. This created a disconnect between the “experts” and the participants, and with the exception of the McGregor meeting I don’t recall much audience input. I’ve mostly blanked out the events – as I tend to for anything that entails public speaking and nervous preparation for something you can’t control – but I was pleased to be involved and I should probably make more of this on my CV. It wasn’t your average book club setting, that’s for sure.
In recent years the closest thing I’ve had to a book club has been online buddy reading. The shadow panels for the Wellcome Book Prize and Sunday Times Young Writer of the Year Award fall into this category, as do online readalongs I’ve done for several Iris Murdoch novels and for C.S. Lewis’s Mere Christianity with various female family members. A few of us book bloggers chatted about Andrea Levy’s Small Island in an online document earlier this year, and my mom and I e-mailed back and forth while reading W. Somerset Maugham’s The Painted Veil in May. I’m also doing my last three of the #20BooksofSummer as online buddy reads, checking in occasionally on Twitter.
Of course, there are some inherent limitations to this kind of discussion – people read at different paces and don’t want to spoil the plot for others, and at some point the back-and-forth fizzles out – but it’s always been easier for me to organize my thoughts in writing, so I likely feel more comfortable contributing than I might in an in-person meeting.
This is all context for my decision to join my neighborhood book club next month. The club arose some months back out of our community’s Facebook group, a helpful resource run by a go-getting lady a few doors down from us. So far it’s turning out to be a small group of thirty- and fortysomething women who alternate meetings at each other’s houses, and the name they’ve chosen gives an idea of the tone: “Books, Booze and Banter.”
I made the mistake of not getting involved right at the start; I wanted to hang back and see what kind of books they’d choose. This means I wasn’t part of the early process of putting titles in a hat, so I’ve looked on snobbishly for several months as they lurched between crime and women’s fiction, genres I generally avoid. (Still, there were actually a couple books I might have joined them for had I not been in America and had they been readily available at the public library.) For many people a book club selection will be the only book they get through that month, so I can understand how they’d want it to be something ‘readable’ that they’d be happy to pick up anyway. Even though statistically I read 27 books a month, I’m still jealously protective of my reading time; I want everything I read to be worthwhile.
So for September I managed to steer the group away from a poorly received historical novel of over 400 pages and the new Joël Dicker and onto Ladder of Years by Anne Tyler, which the bookstore chain Waterstones has been promoting heavily as one of their books of the month. I already had a charity shop copy in hand and the others liked the sound of it, so we’re all set for September 12th! Future months’ literary fiction choices look promising, too, so provided I enjoy the discussion and the camaraderie I plan to stick with it: a backlist Pat Barker novel I’ve not read, and Kirsty Logan and Jonathan Coe novels I’ve read before and won’t reread but will remind myself about briefly before the meetings.
I’m out of practice with this book club thing. My mother tells me that I have a lot to contribute but that I must also be open to what I’ll learn from other people – even if I don’t expect to. So I don’t want to set myself up as some kind of expert. In fact, I probably won’t even mention that I’m a freelance book reviewer and book blogger. Mostly I’m hoping to find some friendly faces around the neighborhood, because even though we’ve lived here just over two years I still only know a handful of names and keep myself to myself as I work from home. Even if I have to read books I wouldn’t normally, it’ll be worth it to meet more people.