The readalong that Cathy of 746 Books is hosting for Brian Moore’s centenary was just the excuse I needed to try his work for the first time. My library had a copy of The Lonely Passion of Judith Hearne, his most famous work and the first to be published under his own name (after some pseudonymous potboilers), so that’s where I started.
Judith Hearne is a pious, set-in-her-ways spinster in Belfast. As the story opens, the piano teacher is moving into a new boarding house and putting up the two portraits that watch over her: a photo of her late aunt, whom Judith cared for in her sunset years; and the Sacred Heart. This establishment is run by a nosy landlady, Mrs. Henry Rice, and her adult son Bernard, who is writing his poetic magnum opus and carrying on with the maid. Recently joining the household is James Madden, the landlady’s brother, who is back from 30 years in New York City. Disappointed in his career and in his adult daughter, he’s here to start over.
Moore’s third-person narration slips easily between the viewpoints of multiple characters, creating a dramatic irony between their sense of themselves and what others think of them. Initially, we spend the most time in Judith’s head – an uncomfortable place to be because of how simultaneously insecure and hypercritical she is. She’s terrified of rejection, which she has come to expect, but at the same time she has nasty, snobbish thoughts about her fellow lodgers, especially overweight Bernard. The dynamic is reversed on her Sunday afternoons with the O’Neills, who, peering through the curtains as she arrives, groan at their onerous duty of entertaining a dull visitor who always says the same things and gets tipsy on sherry.
An unfortunate misunderstanding soon arises between Judith and James: in no time she’s imagining romantic scenarios, whereas he, wrongly suspecting she has money stashed away, hopes she can be lured into investing in his planned American-style diner in Dublin. “A pity she looks like that,” he thinks. Later we get a more detailed description of Judith from a bank cashier: “On the wrong side of forty with a face as plain as a plank, and all dressed up, if you please, in a red raincoat, a red hat with a couple of terrible-looking old wax flowers in it.”
Oh how the heart aches for this figure of pathos. James’s situation, what with the ultimate failure of his American dream, echoes hers in several ways. Something happens that lessens our sympathy for James, but Judith remains a symbol of isolation and collapse. The title also reflects the spiritual aspect of this breakdown: Judith feels that she’s walking a lonely road, like Jesus did on the way to the crucifixion, and the Catholic Church to which she’s devoted, far from being a support in time of despair, is only the source of more judgment.
Alcoholism, mental illness, and religious doubt swirl together to make for a truly grim picture of life on the margins. The novel also depicts casual racism and a scene of sexual assault. No bed of roses here. But Moore’s writing, unflinching yet compassionate, renders each voice and perspective distinct in an unforgettable character study full of intense scenes. I especially loved how the final scene returns full circle. I’d particularly recommend this to readers of Tove Ditlevsen, Muriel Spark and Elizabeth Taylor, and fans of Barbara Pym’s Quartet in Autumn. I’ll definitely try more from Moore – I found a copy of The Colour of Blood in a Little Free Library in Somerset, so will add that to my stack for 20 Books of Summer.
The “P.S.” section of the Harper Perennial paperback I borrowed from the library contains a lot of interesting information on Moore’s life and the composition of Judith Hearne. After time as a civilian worker in the British army, Moore moved to Canada and became a journalist. Later he would move to Malibu and write the screenplay for Alfred Hitchcock’s Torn Curtain.
The protagonist was based on a woman Moore’s parents invited over for Sunday diners in Belfast. Like Judith, she loved wearing red and went on about the aunt who raised her. Moore said, “When I wrote Judith Hearne I was very lonely, writing in a rented caravan, I had almost no friends, I’d given up my beliefs, was earning almost no money as a reporter and I didn’t see much of a future. So I could identify with a dipsomaniac, isolated spinster.” The novel was rejected by 12 publishing houses before the firm André Deutsch, namely reader Laurie Lee and co-director Diana Athill, recognized its genius and accepted it for publication.
I announced a few new TBR reading projects back in May 2020, including a Four in a Row Challenge (see the ‘rules’, such as they are, in my opening post). It only took me, um, nearly 11 months to complete a first set! The problem was that I kept changing my mind on which four to include and acquiring more that technically should go into the sequence, e.g. McCracken, McGregor; also, I stalled on the Maupin for ages. But here we are at last. Debbie, meanwhile, took up the challenge and ran with it, completing a set of four novels – also by M authors, clearly a numerous and tempting bunch – back in October. Here’s hers.
I’m on my way to completing a few more sets: I’ve read one G, one and a bit H, and I selected a group of four L. I’ve not chosen a nonfiction quartet yet, but that could be an interesting exercise: I file by author surname even within categories like science/nature and travel, so this could throw up interesting combinations of topics. Do feel free to join in this challenge if, like me, you could use a push to get through more of the books on your shelves.
Embers by Sándor Márai (1942)
[Translated from the Hungarian by Carol Brown Janeway]
My first work of Hungarian literature.* This was a random charity shop purchase, simply because I’m always trying to read more international literature and had enjoyed translations by Carol Brown Janeway before. In 1940, two old men are reunited for the first time in 41 years at a gloomy castle, where they will dine by candlelight and, over the course of a long conversation, face up to the secret that nearly destroyed their friendship. This is the residence of 75-year-old Henrik, usually referred to as “the General,” who lives alone apart from Nini, his 91-year-old wet nurse. His wife, Krisztina, died 33 years ago.
Henrik was 10 when he met Konrad at an academy school. They were soon the best of friends, but two things came between them: first was the difference in their backgrounds (“each forgave the other’s original sin: wealth on the one hand and poverty on the other”); second was their love for the same woman.
I appreciated the different setup to this one – a male friendship, just a few very old characters, the probing of the past through memory and dialogue – but it was so languid that I struggled to stay engaged with the plot.
*My next will be Journey by Moonlight by Antal Szerb, another charity shop find.
“My homeland was a feeling, and that feeling was mortally wounded.”
“Life becomes bearable only when one has come to terms with who one is, both in one’s own eyes and in the eyes of the world.”
Tales of the City by Armistead Maupin (1978)
I’d picked this up from the free bookshop we used to have in the local mall (the source of my next two as well) and started it during Lockdown #1 because in The Novel Cure it is given as a prescription for Loneliness. Berthoud and Elderkin suggest it can make you feel like part of a gang of old friends, and it’s “as close to watching television as literature gets” due to the episodic format – the first four Tales books were serialized in the San Francisco Chronicle.
How I love a perfect book and bookmark combination!
The titled chapters are each about three pages long, which made it an ideal bedside book – I would read a chapter per night before sleep. The issue with this piecemeal reading strategy, though, was that I never got to know any of the characters; because I’d often only pick up the book once a week or so, I forgot who people were and what was going on. That didn’t stop individual vignettes from being entertaining, but meant it didn’t all come together for me.
Maupin opens on Mary Ann Singleton, a 25-year-old secretary who goes to San Francisco on vacation and impulsively decides to stay. She rooms at Anna Madrigal’s place on Barbary Lane and meets a kooky assortment of folks, many of them gay – including her new best friend, Michael Tolliver, aka “Mouse.” There are parties and affairs, a pregnancy and a death, all told with a light touch and a clear love for the characters; dialogue predominates. While it’s very much of its time, it manages not to feel too dated overall. I can see why many have taken the series to heart, but don’t think I’ll go further with Maupin’s work.
Note: Long before I tried the book, I knew about it through one of my favourite Bookshop Band songs, “Cleveland,” which picks up on Mary Ann’s sense of displacement as she ponders whether she’d be better off back in Ohio after all. Selected lyrics:
Quaaludes and cocktails
A story book lane
A girl with three names
A place, post-Watergate
Freed from its bird cage
Where the unafraid parade
Perhaps, we should all
Go back to Cleveland
Where we know what’s around the bend
Citizens of Atlantis
The Madrigal Enchantress cries
And we decide, to stay and bide our time
On this far-out, far-flung peninsula.
The Children Act by Ian McEwan (2014)
Although it’s good to see McEwan take on a female perspective – a rarer choice for him, though it has shown up in Atonement and On Chesil Beach – this is a lesser novel from him, only interesting insomuch as it combines elements from two of his previous works, The Child in Time (legislation around child welfare) and Enduring Love (a religious stalker). Fiona Maye, a High Court judge, has to decide whether 17-year-old Adam, a bright and musical young man with acute leukaemia, should be treated with blood transfusions despite his Jehovah’s Witness parents’ objection.
She rules that the doctors should go ahead with the treatment. “He must be protected from his religion and from himself.” Adam, now better but adrift from the religion he was raised in, starts stalking Fiona and sending her letters and poems. Estranged from her husband, who wants her to condone his affair with a young colleague, and fond of Adam, Fiona spontaneously kisses the young man while traveling for work near Newcastle. But thereafter she ignores his communications, and when he doesn’t seek treatment for his recurring cancer and dies, she blames herself.
[END OF SPOILERS]
It’s worth noting that the AI in McEwan’s most recent full-length novel, Machines Like Me, is also named Adam, and in both books there’s uncertainty about whether the Adam character is supposed to be a child substitute.
The Birth House by Ami McKay (2006)
Dora is the only daughter to be born into the Rare family of Nova Scotia’s Scots Bay in five generations. At age 17, she becomes an apprentice to Marie Babineau, a Cajun midwife and healer who relies on ancient wisdom and appeals to the Virgin Mary to keep women safe and grant them what they want, whether that’s a baby or a miscarriage. As the 1910s advance and the men of the village start leaving for the war, the old ways represented by Miss B. and Dora come to be seen as a threat. Dr. Thomas wants women to take out motherhood insurance and commit to delivering their babies at the new Canning Maternity Home with the help of chloroform and forceps. “Why should you ladies continue to suffer, most notably the trials of childbirth, when there are safe, modern alternatives available to you?” he asks.
Encouraged into marriage at an early age, Dora has to put her vocation on hold to be a wife to Archer Bigelow, a drunkard with big plans for how he’s going to transform the area with windmills that generate electricity. Dora’s narration is interspersed with journal entries, letters, faux newspaper articles, what look like genuine period advertisements, and a glossary of herbal remedies – creating what McKay, in her Author’s Note, calls a “literary scrapbook.” I love epistolary formats, and there are so many interesting themes and appealing secondary characters here. Early obstetrics is not the only aspect of medicine included; there is also an exploration of “hysteria” and its treatment, and the Spanish flu makes a late appearance. Dora, away in Boston at the time, urges her friends from the Occasional Knitters’ Society to block the road to the Bay, make gauze masks, and wash their hands with hot water and soap.
There are a few places where the narrative is almost overwhelmed by all the (admittedly, fascinating) facts McKay, a debut author, turned up in her research, and where the science versus superstition dichotomy seems too simplistic, but for the most part this was just the sort of absorbing, atmospheric historical fiction that I like best. McKay took inspiration from her own home, an old birthing house in the Bay of Fundy.
“Let’s hear it for love.”
Last year I read, or reread, six Carol Shields novels (my roundup post). The ongoing World Editions reissue series is my excuse to continue rereading her this year – Mary Swann, another I’m keen to try again, is due out in August.
The Republic of Love (1992), the seventh of Shields’s 10 novels, was a runner-up for the Guardian Fiction Prize and was adapted into a 2003 film directed by Deepa Mehta. (I love Emilia Fox; how have I not seen this?!)
The chapters alternate between the perspectives of radio disc jockey Tom Avery and mermaid researcher Fay McLeod, two thirtysomething Winnipeg lonely hearts who each have their share of broken relationships behind them – three divorces for Tom; a string of long-term live-in boyfriends for Fay. It’s clear that these two characters are going to meet and fall in love (at almost exactly halfway through), but Shields is careful to interrogate the myths of love at first sight and happily ever after.
On this reread, I was most struck by the subplot about Fay’s parents’ marriage and especially liked the secondary characters (like Fay’s godmother, Onion) and the surprising small-world moments that take place in Winnipeg even though it was then a city of some 600,000 people. Shields has a habit of recording minor characters’ monologues (friends, family, radio listeners, and colleagues) word for word without letting Fay or Tom’s words in edgewise.
Tom sometimes feels like a caricature – the male/female dynamic is not as successful here as in the Happenstance dual volume, which also divides the perspective half and half – and I wasn’t entirely sure what the mermaid theme is meant to contribute. Mermaids are sexually ambiguous, and in Fay’s Jungian interpretation represent the soul emerging from the unconscious. In any case, they’re an excuse for Fay to present papers at folklore conferences and spend four weeks traveling in Europe (Amsterdam, Copenhagen, northwest France).
Straightforward romance plots don’t hold much appeal for me anymore, but Shields always impresses with her compassionate understanding of human nature and the complexities of relationships.
This was not one of my favorites of hers, and the passage of nearly five years didn’t change that, but it’s still pleasant and will suit readers of similarly low-key, observant novels by women: Kate Grenville’s The Idea of Perfection, Elizabeth Hay’s Late Nights on Air, Mary Lawson’s A Town Called Solace, and Anne Tyler’s The Accidental Tourist.
“Most people’s lives don’t wrap up nearly as neatly as they’d like to think. Fay’s sure of that. Most people’s lives are a mess.”
Fay’s mother: “I sometimes think that the best thing about your mermaids is the fact that they never age.”
The Republic of Love was reissued in the UK by World Editions in February. My thanks to the publisher for the free copy for review.
I was delighted to take part in the blog tour for The Republic of Love. See below for details of where other reviews and features have appeared or will be appearing.
Nonfiction about doctors’ memorable patients and a life of chronic pain and disability; novels set in 1970s Canada and contemporary (but magically outside-of-time) Paris.
That One Patient: Doctors’ and nurses’ stories of the patients who changed their lives forever by Ellen de Visser
[Translated from the Dutch by Brent Annable]
Ellen de Visser is a science writer for the most popular newspaper in the Netherlands, De Volkskrant. Her “That One Patient” column, which began in the summer of 2017, turns interviews with medical professionals into punchy first-person narratives. A collection of them was published in Dutch in 2019. This English translation tacks on 10 additional pieces based on conversations with English and American practitioners (including Dr. Anthony Fauci, immunologist and presidential medical advisor), four of them explicitly reflecting on COVID-19.
Many of the cases are decades old yet stuck with the doctor or nurse in question because of a vital lesson learned. Overtreatment is regretted just as much as an omission of care. Again and again, these medical professionals conclude that it’s impossible to judge someone else’s decisions or quality of life. For instance, a surgeon admits he had a hard time empathizing with his obese patients undergoing stomach reduction until he followed up with a young woman who told him about how invisible she’d felt before her surgery. Premature and disabled children bring grief or joy, not always in the expected doses. A doctor resents the work his team puts into repairing a woman who jumped from an eighth-floor window – why the heroic measures for someone who wanted to die? – until he learns she was pushed. A cancer surgeon develops breast cancer and now knows exactly what her patients go through.
Some of these stories are disturbing: being stalked by a patient with a personality disorder, a man poisoning his girlfriend, a farmer predicting the very day and time of his death. A gynaecologist changes his mind about abortion after he meets a 15-year-old who gave birth at home and left her baby outside in a plastic bag to die of exposure. Other pieces are heart-warming: A paramedic delivers a premature, breech baby right in the ambulance. Staff throw a wedding at the hospital for a dying teen (as in Dear Life by Rachel Clarke). A woman diagnosed with cancer while pregnant has chemotherapy and a healthy baby – now a teenager. There’s even a tale from a vet who crowdfunded prostheses for a lively terrier.
One unique thing about the Netherlands is that euthanasia is legal and provided by doctors upon the express request of a patient suffering from a terminal illness. It is taken for granted in these essays, yet some interviewees express their discomfort with it as an option for young patients. De Visser is careful to note that, even with the situation as it is, only 4% of deaths in the Netherlands are by euthanasia, and the majority of these are end-stage cancer cases.
As with any collection of this nature, some stories are more enticing than others, but overall I found it a surprising and moving set of reflections that is alive to ethical complexities and grapples with tough issues like disability, doctor error, loneliness, pain, and sense of purpose.
Two quotes, in particular, stood out to me, one from a nurse – “We are only ever guests in other people’s lives, and that’s how we ought to behave” – and the other from Dr. Fauci’s piece. In 2014 he treated a doctor who had been volunteering in Sierra Leone after an Ebola outbreak but became ill with the virus and had to be evacuated. “He cited Hippocrates: ‘It is far more important to know what sort of person has the disease, rather than what sort of disease the person has.’ You treated me like a person, not a disease, he said. And that’s what medicine is all about.”
With thanks to 4th Estate for the proof copy for review.
A Still Life: A Memoir by Josie George
Over a year of lockdowns, many of us have become accustomed to spending most of the time at home. But for Josie George, social isolation is nothing new. Chronic illness long ago reduced her territory to her home and garden. The magic of A Still Life is in how she finds joy and purpose despite extreme limitations. Opening on New Year’s Day and travelling from one winter to the next, the book is a window onto George’s quiet existence as well as the turning of the seasons. (My full review will appear in a forthcoming issue of the Times Literary Supplement. See also Eleanor’s thorough review.) This is top of my wish list for next year’s Barbellion Prize shortlist.
With thanks to Bloomsbury for the proof copy for review.
A Town Called Solace by Mary Lawson
I discovered Mary Lawson in 2015 with Road Ends and caught up with Crow Lake in the summer of 2019. All four of her books are set in fictional locations inspired by the villages and rural areas of Northern Ontario, where the author grew up before moving to England in 1968. So Solace, while not a real town, is true to her memory and, despite the sometimes gruff or know-it-all locals, an emotional landmark for the three central characters, all of whom are processing trauma and looking for places of comfort where they can start over.
1972. First we meet Clara, a plucky seven-year-old sitting vigil. She’s waiting for the return of two people: her sixteen-year-old sister, Rose, who ran away from home; and their next-door neighbour, Mrs. Orchard, whose cat, Moses, she’s feeding until the old lady gets back from the hospital. As days turn into weeks, though, it seems less likely that either will come home, and one day Clara sees a strange man moving boxes around in Mrs. Orchard’s house. This is Liam Kane, who’s inherited the house from a family friend. In his thirties and recently divorced, he’s taking a break in this tiny town, never imagining that he might find a new life. The third protagonist, and only first-person narrator, is Elizabeth, who lies in a hospital bed with heart trouble and voices her memories as a monologue to her late husband.
As we cycle through these three characters’ perspectives in alternating chapters, we gradually come to understand the connections between them. There are satisfying parallels in that, on multiple occasions but in slightly different ways, a child attaches to an older person or an adult stands in as a guardian for a neglected child. All of Lawson’s creations, even the secondary figures, are dealing with distressing memories or a loss of some kind, the details of which might only emerge much later on. Solace offers myriad opportunities for recovery, whether kitty playtime at Mrs. Orchard’s or diner food and homemade ice cream.
Like Lawson’s other works, this is a slow burner featuring troubled families. Her characters, often full of regret and sorrow, take a shadowy past as a prompt to reset their lives. They’re charming in spite of their flaws. I recalled that Crow Lake also looks back to the climactic happenings experienced by a seven-year-old girl. And like Road Ends, A Town Called Solace makes a convincing case for present decisions being influenced by historical trauma. It’s a tender and inviting story I’d recommend to readers of Wendy McGrath and Anne Tyler, with Clever Girl by Tessa Hadley and Olive, Again by Elizabeth Strout as specific readalikes. (My dilemma now is whether to read my only remaining Lawson novel, The Other Side of the Bridge, right away or save it: she’s not the most prolific author, with four books in 19 years.)
A favorite passage:
[Liam’s] life prior to coming north seemed to be taking on the quality of an old movie, one in which he’d been deeply engrossed while watching it but which now seemed trivial, unconvincing and profoundly lacking in either colour or plot. Solace had colour and plot in spades, maybe too much. In every way it was coming to seem more real than Toronto, with its endless malls and traffic jams and high-powered jobs. Though maybe, if he went back to Toronto, the same would be true in reverse. Maybe when he’d been back for a couple of months he’d find that it was Solace that seemed unreal, its unremarkable streets and stores like something from a dream, its dramatic landscape fading to nothing, like a holiday photo left in the sun.
With thanks to Chatto & Windus for the free copy for review.
The Strays of Paris by Jane Smiley
(Published in the USA in December 2020 under the title Perestroika in Paris. It’s been given a The Boy, the Mole, the Fox and the Horse treatment for its UK release.)
My summary for Bookmarks magazine: “A racehorse, Perestroika—nicknamed Paras—strays from her unlocked suburban stable one day, carrying her groom’s purse in her mouth, and ends up in Paris’s Place du Trocadéro. Here she meets Frida the dog, Sid and Nancy the mallards, and Raoul the raven. Frida, whose homeless owner died, knows about money. She takes euros from the purse to buy food from a local market, while Paras gets treats from a baker on predawn walks. Etienne, an eight-year-old orphan who lives with his ancient great-grandmother, visits the snowy park to feed the wary animals (who can talk to each other), and offers Paras a home. A sweet fable for animal lovers.”
Yes, this is a talking animal book, but the animals only talk to each other; they communicate with humans through their gestures and soulful eyes. Kindly shopkeepers work out what Frida wants to buy based on what she stares at or points to with a paw; the baker whose window Paras passes on her early morning walks intuits that the horse is hungry; Etienne, who gives a couple of the stray animals a home during a chill winter, learns to understand when Paras needs to go out to relieve herself, after piles of dung build up in the sitting room.
I liked how patiently and convincingly Smiley builds the portrait of each character – human or animal – and the overall situation of kindness and good fortune. Raoul is particularly amusing for his birdsplaining: “It is a feature of age. I have learned so many things in my life that they just force their way out of my beak,” he says. However, a crow would be much more realistic for Paris (or any city) than a raven, and, overall, this was a little twee and farfetched for my tastes. It was nice to read something a bit different from Smiley, who I haven’t tried since her Last Hundred Years Trilogy. She has a sideline in YA horse novels; this should probably have been lumped with those. (Annabel liked it a bit more.)
I was sent an unsolicited review copy by Picador/Mantle.
What recent releases can you recommend?
Today I have a book of medico-philosophical musings, a triptych of novels about the resonant moments of a Canadian childhood, and a varied collection of ekphrastic poems.
Scattered Limbs: A Medical Dreambook by Iain Bamforth (2020)
A doctor based in Strasbourg, Iain Bamforth offers a commonplace book full of philosophical musings on medicine and wellness from the ancient world to today. All through December I would read just a few pages at a time as a palate cleanser between larger chunks of other books. Most of the entries are under three pages in length, with some one-sentence dictums interspersed. The point of reference is broadly European, with frequent allusions to English, French, and German literature (Charles Dickens, Marcel Proust, and Thomas Mann) and to Greek thinkers like Aristotle and Plato. The themes include memory, overtreatment, technology, and our modern wellness culture. If you’re equally interested in medicine and philosophy, this is a perfect bedside book for you; if you only gravitate towards one or the other, it’s possible that you could run low on patience for the high-brow rumination. My favourite piece was on “panicology,” and two stand-out lines are below.
“Prognostication is where writers and doctors resemble each other most.”
“A proper attitude to death can be a source of life. That is medicine’s only profundity.”
With thanks to Galileo Publishers for the free copy for review.
The Santa Rosa Trilogy by Wendy McGrath (2011–19)
I’m indulging in one last listen to our holiday music compilations as I write, before putting everything away until a hoped-for ‘Christmas in July’ with family and friends. Yesterday I devoured Broke City, the third novella in Wendy McGrath’s Santa Rosa Trilogy, in one sitting and treasured all the Christmas and pine tree references: they bind the book together but also connect it satisfyingly back to Book 1, Santa Rosa, which opened with Christine’s neighbour preparing a Christmas cake one summer. That annual ritual and its built-in waiting period take on new significance when the adult Christine’s life changes suddenly.
In this trio of linked narratives about Christine’s 1960s Edmonton childhood, totem objects and smells evoke memories that persist for decades: Pine-Sol, her parents’ cigarettes, the local meat-packing plant. Even at age seven, Christine is making synaesthetic links between colours and scents as she ponders language and imagines other lives. That her recollections – of a carnival, the neighbourhood grocery store, queasy road trips to her grandmother’s in Saskatchewan, a drive-in movie, and Christmas Eve with her father’s side of the family – so overlap with my late-1980s mental flipbook proves not that suburban Maryland and upstate New York (where I grew up and my mother’s home turf, respectively) are so similar to Alberta, but that this is the universal stuff of a later 20th-century North American childhood.
The other night, discussing The Light Years by Elizabeth Jane Howard, my book club noted how difficult it is to capture childhood in all its joy and distress. McGrath does so superbly, exploiting the dramatic irony between what Christine overhears and what she understands. Readers know her parents’ marriage is in trouble because she never sees them laughing or happy, and she hears her mother complain to her father about his drinking. We know the family is struggling because a man from the City delivers a box of Spam, standard issue to all those who are out of work over the winter. A simple mishearing (“clatteral,” “brain tuber”; thinking that an abattoir sounds “like a fancy ballroom”) can be a perfect example of the child perspective, too. Meanwhile, the pop culture references situate the story in the time period.
Towards the end of Broke City, young Christine declares, “I shall be unusual.” As we root for the girl to outrun her sadder memories and forge a good life, we hope that – like all of us – she’ll find a balance between the ordinary and the exceptional through self-knowledge. While Broke City was my favourite and could probably stand alone, it’s special to chart how moments turn into memories across the three books. I’d recommend the trilogy to readers of Tove Ditlevsen, Tessa Hadley, and Elizabeth Hay. I particularly loved the hybrid-poetry style of the Prologue to Santa Rosa (similar to what Bernardine Evaristo employs), so I would also be interested to try one of McGrath’s two poetry collections.
Some favourite passages:
“he walks at the same time everyday summer and winter
early morning when the day still makes promises” (Santa Rosa)
“Christine thought of herself as a child, with no idea of the world but all the ideas in the world. … Christine is the girl that used to live here, but the girl has disappeared. Her ghost is here, existing parallel to the person she is now. How did this happen? There must have been something she wasn’t paying attention to, something she didn’t see coming.” (Broke City)
With thanks to Wendy McGrath and Edmonton’s NeWest Press for the e-copies for review. I learned about the books from Marcie; see her appreciation of McGrath’s work at Buried in Print.
Color and Line by Carole Mertz (2021)
“Ekphrastic” was a new vocabulary word for me – or, if I’d heard it before, I needed a reminder. It refers to poetry written to describe or respond to artworks. Many of Carole Mertz’s poems, especially in the first section, attest to her love of the visual arts. This is the Ohio church organist’s first full-length collection after the 2019 chapbook Toward a Peeping Sunrise and extensive publication in literary magazines. She was inspired by art ranging in date from 1555 to 2019. “Come Share a Glass with Me,” for instance, is a prose poem that imagines the story behind a Van Gogh. I loved the line “The ewer sits expectant” in a short poem capturing The Staircase by Xavier Mellery.
One could look up all of the artworks discussed, but the descriptions here are so richly detailed that I often didn’t feel I needed to. Two paintings in a row depict sisters. A poem about Salome and the beheading of John the Baptist draws on the Bible story, but also on its many portrayals through art history. Other topics include concern for the Earth and beloved works of literature. I particularly enjoyed “The Word in Joseph’s Hand,” a Christmas hymn that can be sung to the tune of “Lo, How a Rose E’er Blooming,” and a haiku about a cardinal, “a flash of bright red / … in the garden”. Below is my favourite of the poems; it incorporates the titles of 14 books, nine of them by Anne Tyler. See if you can spot them all!
Color and Line was released by Kelsay Books on the 2nd. My thanks to Carole Mertz for the e-copy for review.
Would you be interested in reading one or more of these?
And, just for fun, put a description of or link to your favourite Bernie-in-mittens meme in the comments.
It’s not November without a New Networks for Nature conference. Originally 2020’s was scheduled to take place in Norwich in July; it was then postponed to the usual November in hopes of an in-person meeting, but ultimately had to be online this year, like so much else. This was my sixth time taking part in this interdisciplinary gathering of authors, academics, and activists (I’ve also written about the 2015, 2016, 2018, and 2019 conferences). The UEA organizers, Jean McNeil and Jos Smith, with New Networks stalwart John Fanshawe, did an excellent job of creating three virtual events for people to engage with from home.
Two pre-recorded panels brought together writers from different fields to reflect on nature literature and the environmental crisis. First up was “New Perspectives on Nature Writing,” picking up on a perennial conference theme.
I was delighted to hear Jessica J. Lee speak – I’ve reviewed both of her nature-infused memoirs, Turning and Two Trees Make a Forest, and in last year’s feedback I suggested her as a future speaker (I’m sure I’m not solely responsible!). After a PhD in environmental history, she moved into more personal writing. Questions of home, place, language, and identity were natural for her as a third-generation migrant. She initially felt alone as a person of colour in nature writing, but when she founded the Willowherb Review she quickly learned that it wasn’t that POC weren’t out there; it was that they did not have opportunities to publish – she has had 300+ submissions per issue to the online literary magazine, which welcomes work from all genres by authors of colour.
Also on the panel were Mona Arshi, a Punjabi poet based in London, and McNeil, a creative writing professor. Arshi has been a human rights lawyer and is the current poet-in-residence at Cley Marshes, Norfolk, in association with the Wildlife Trusts and UEA. She has had to try to absorb the landscape via video and sound recordings since COVID-19 has limited her in-person visits. She read a sonnet she wrote about her last trip there in September. All three panellists spoke about land being in some ways beyond language, though.
Jean McNeil’s Ice Diaries is a memoir of a year in residence with the British Antarctic Survey, a very male, scientific world. Antarctica is “no one’s country,” she remarked, though it’s the fifth-largest continent; it’s as if the land has no memory of people. She observed that it’s impossible to write about Antarctica without giving a sense of the journey (so she includes travel writing) and mentioning death. Raised without technology by back-to-the-land parents in Canada, McNeil has been active in the environmental movement in Brazil, Central America, and Africa (as a safari guide). Ice Diaries was already on my TBR, but I’m impressed by her breadth of experience and want to explore her varied work.
The second panel, “States of Emergency,” included an academic, a playwright, the CEO of an environmental charity, and a philosopher and activist. I was intrigued by UEA’s Rebecca Tillett’s brief opening address about contemporary North American indigenous responses to climate change in fiction (her research speciality). Her primary example was the Moon of the Crusted Snow by Waubgeshig Rice, a postapocalyptic thriller in which the Wendigo, a figure from First Nations folklore, embodies capitalism as it consumes people with greed.
UEA-based playwright Steve Waters is planning outdoor theatre projects at nature reserves. James Thornton, the CEO of ClientEarth, spoke about starting with the science, the “grammar of the Earth.” His team has prevented new coal-fired stations in Europe and encouraged NGOs in China to sue polluting companies. Philosophy professor Rupert Reed was, until recently, an Extinction Rebellion spokesman. He noted that the climate emergency feels too slow and too long – a marathon, not a sprint; people don’t realize how profoundly our way of life and future are threatened. Alas, COVID-19 is not having the desired effect of turning people’s attention to the greater, ongoing emergency. He counselled acceptance and adaptation, stating that hope and action must go hand in hand. Thornton recalled the Dalai Lama telling him early in his career that he needed to get beyond anger because angry people don’t come up with viable solutions. The anger has to be turned into a positive vision.
There were live Q&A sessions for these two panels, but we weren’t able to watch. However, we did attend Saturday’s live keynote event featuring Tim Dee and Kathleen Jamie, two of the finest nature writers working today. Speaking from Cape Town, where he has been stranded since the start of the pandemic, Dee said that his current writing is about birds that are new to him but familiar to his neighbours. He explained that he admires and understands the world through birds, “who carry no bags or passports and are at home wherever they are.” In his work he explores how we are “made by places,” often returning to a place to reprocess his experiences there (e.g. Hungary in his latest book, Greenery). His notebooks, which are often just lists of birds seen, help him to “reinflate” a place when writing about it later.
Jamie agreed that her work also has this quality of “afterwardness” – finding the meaning of an experience long after the moment. She came across as down-to-earth, shrugging off McNeil’s question about transcendence and remarking that a sign above her desk reads “Nay narrative!” What is left for a lyric poet who loses faith in lyricism? For Jamie, the answer is prose poetry, as in “Tree on the Hill,” recently published in the LRB. Her poetry has always been local but her longform nonfiction has only ever come from other places, so while she’s been stuck in Fife she’s been unable to progress. But she never has any idea of what she’s writing, she said; she and her editor work out a theme once a whole book exists (for instance, the linking metaphor for Surfacing – unearthing archaeological evidence and memories).
Dee called himself a materialist – “no ideas but in things” – with language being what we clothe things in. He always double-checks his (sometimes elaborate) metaphors by putting them back onto a bird to ensure they fit. Jamie said she used to believe language was humans’ “fall” and would try to maintain a “pre-language state” for as long as possible every morning, but ultimately she changed her mind, accepting that language is what makes us human; it’s what we do. She acknowledges that nature writing like hers is not going to achieve things in the way that environmental activism can, but she hopes that bringing non-human creatures into the culture (as if it were an ark) can be a way of advocating for them all the same.
A brilliant programme, capped off with some visual and musical delights: “Where Song Began,” a one-hour cello and violin response/accompaniment to Australian birdsong created by Simone Slattery and Anthony Albrecht in January; and a brief virtual tour of the Nature Writing Collection in the British Archive for Contemporary Writing at UEA, which includes the papers of the late Roger Deakin and of (alive and kicking!) Mark Cocker, a UEA graduate. The archive contains Deakin’s drafts and pitches (Waterlog’s working title was “The Waters of the Wondrous Isle,” and he imagined it as an aquatic Rural Rides), photos, and even his Speedo bathing suit; along with Cocker’s field notebooks and fan mail.
This Being/Becoming/Asking the Expert week of the month-long Nonfiction November challenge is hosted by Rennie of What’s Nonfiction.
I’m also counting this as the first entry in my new “Three on a Theme” series, where I’ll review three books that have something significant in common and tell you which one to pick up if you want to read into the topic for yourself. I have another medical-themed one lined up for this Friday as a second ‘Being the Expert’ entry.
I never set out to read several memoirs of women’s experience of postpartum depression this year; it sort of happened by accident. I started with the graphic memoir and then chanced upon a recent pair of traditional memoirs published in the UK – in fact, I initially pitched them as a dual review to the TLS, but they’d already secured a reviewer for one of the books.
Inferno: A Memoir by Catherine Cho
I was delighted to see this prediction of mine make the Sunday Times Young Writer of the Year Award shortlist. Coincidentally, I was already halfway through the book on my Kindle (via NetGalley) at that point, but its nomination gave me the push to finish in a timely manner. Cho, a Korean American literary agent based in London, experienced stress-induced postpartum psychosis after the birth of her son, Cato. She and her husband James had gone back to the USA when Cato was two months old to introduce him to friends and family, ending with a big Korean 100-day celebration for him at her in-laws’ home in New Jersey. Almost as soon as they got to her in-laws’, though, she started acting strangely: she was convinced there were cameras watching their every move, and Cato’s eyes were replaced with “devil’s eyes.” She insisted they leave for a hotel, but soon she would be in an emergency room, followed by a mental health ward.
Cho alternates between her time on the New Bridge ward – writing in a notebook, trying to act normal whenever James visited, expressing milk from painfully swollen breasts, and interacting with her fellow patients with all their quirks – and a rundown of the rest of her life before the breakdown. Her Kentucky childhood was marked by her mathematician father’s detachment and the sense that she and her brother were together “in the trenches,” pitted against the world. In her twenties she worked in a New York City corporate law firm and got caught up in an abusive relationship with a man she moved to Hong Kong to be with. All along she weaves in her family’s history and Korean sayings and legends that explain their values.
Twelve days. That was the length of her hospitalization in early 2018, but Cho so painstakingly depicts her mindset that readers are fully immersed in an open-ended purgatory – a terrifying time when she questioned her sanity and whether she was cut out for motherhood. “Koreans believe that happiness can only tempt the fates and that any happiness must be bought with sorrow,” she writes. She captures both extremes, of suffering and joy, in this vivid account.
What Have I Done? An honest memoir about surviving postnatal mental illness by Laura Dockrill
Dockrill is a British children’s author. Her style reminded me of others of her contemporaries who do a good line in light, witty, warts-and-all, here’s-what-it’s-really-like-to-be-a-woman books: Dolly Alderton, Caitlin Moran and the like. From a labor that quickly deviated from her birth plan due to an emergency Caesarean to the usual post-baby blues to full-blown psychosis, Dockrill recreates her experience with fluid dialogue and italicized passages of her paranoid imaginings. Her memoir resembles Cho’s in its broad strokes but also in certain particulars, like imagining surveillance cameras and hearing a voice in her head telling her she is a bad mum. I skimmed this one because of a library deadline and because of an overload on similar content. I had a greater affinity for Cho’s literary style compared to the more between-girlfriends, self-help bent of this memoir. With the glossary and resources at the end, though, I’d say this one would be more useful for someone going through the same thing.
Dear Scarlet: The Story of My Postpartum Depression by Teresa Wong (2019)
Memoir as letter and as graphic novel. Wong narrates the traumatic birth of her first child and her subsequent postpartum depression in black-and-white sketches that manage to feel breezy and fun despite the heavy subject matter. “I felt lost. I had no maternal instincts and no clue how I was supposed to take care of a baby,” she writes to Scarlet. “Your first two months in the world were the hardest two months of my life.”
For Wong, a combination of antidepressants, therapy, a postnatal doula, an exercise class, her mother’s help, and her husband’s constant support got her through, and she knows she’s lucky to have had a fairly mild case and to have gotten assistance early on. I loved the “Not for the Faint of Heart” anatomical spreads and the reflections on her mother’s tough early years after arriving in Canada from China.
The drawing and storytelling style is similar to that of Sarah Laing and Debbie Tung. The writing is more striking than the art, though, so I hope that with future work the author will challenge herself to use more color and more advanced designs (from her Instagram page it looks like she is heading that way).
My thanks to publicist Beth Parker for the free e-copy for review.
What I learned:
All three authors emphasize that motherhood does not always come naturally; “You might not instantly love your baby,” as Dockrill puts it. There might be a feeling of detachment – from the baby and/or from one’s new body. They all note that postpartum depression is common and that new mothers should not be ashamed of seeking help from medical professionals, baby nurses, family members and any other sources of support.
These two passages were representative for me:
Cho: “I don’t feel a rush of love or an overwhelming weight of responsibility, emotions that I’d been expecting. Instead, I felt curious, like I’d just been introduced to a stranger. He was a creature, an idea, not even human yet, just a being, a life. … I’d thought I would reclaim my body after birth, but instead, it was now a tool, something to sustain life.”
Dockrill: “If childbirth and motherhood are the most natural, universal, common things in the world, the things that women have been doing since the beginning of time, then why does nobody tell us that there’s a good chance that you might not feel like yourself after you have a baby? That you might even lose your head? That you might not ever come back?”
Nobody Told Me by Hollie McNish, one of my current bedside books, also deals with complicated pregnancy emotions and the chaotic early months of motherhood.
If you read just one, though… Make it Inferno by Catherine Cho.