I’ve grouped these three prize-winning novels from the late 1980s and 1990s together because they all left me scratching my head, wondering whether they were jumbles of random elements and events or if there was indeed a satisfyingly coherent story. While there were aspects I admired, there were also moments when I thought it indulgent of the authors to pursue poetic prose or plot tangents and not consider the reader’s limited patience. I had to think for ages about how to rate these, but eventually arrived at the same rating for each, reflecting my enjoyment but also my hesitation.
The Child in Time by Ian McEwan (1987)
[Whitbread Prize for Fiction (now Costa Novel Award)]
This is the second-earliest of the 13 McEwan books I’ve read. It’s something of a strange muddle (from the protagonist’s hobbies of Arabic and tennis lessons plus drinking onwards), yet everything clusters around the title’s announced themes of children and time.
Stephen Lewis’s three-year-old daughter, Kate, was abducted from a supermarket three years ago. The incident is recalled early in the book, as if the remainder will be about solving the mystery of what happened to Kate. But such is not the case. Her disappearance is an unalterable fact of Stephen’s life that drove him and his wife apart, but apart from one excruciating scene later in the book when he mistakes a little girl on a school playground for Kate and interrogates the principal about her, the missing child is just subtext.
Instead, the tokens of childhood are political and fanciful. Stephen, a writer whose novels accidentally got categorized as children’s books, is on a government committee producing a report on childcare. On a visit to Suffolk, he learns that his publisher, Charles Darke, who later became an MP, has reverted to childhood, wearing shorts and serving lemonade up in a treehouse.
Meanwhile, Charles’s wife, Thelma, is a physicist researching the nature of time. For Charles, returning to childhood is a way of recapturing timelessness. There’s also an odd shared memory that Stephen and his mother had four decades apart. Even tiny details add on to the time theme, like Stephen’s parents meeting when his father returned a defective clock to the department store where his mother worked.
This is McEwan, so you know there’s going to be a contrived but very funny scene. Here that comes in Chapter 5, when Stephen is behind a flipped lorry and goes to help the driver. He agrees to take down a series of (increasingly outrageous) dictated letters but gets exasperated at about the same time it becomes clear the young man is not approaching death. Instead, he helps him out of the cab and they celebrate by drinking two bottles of champagne. This doesn’t seem to have much bearing on the rest of the book, but is the scene I’m most likely to remember.
Other noteworthy elements: Stephen has a couple of run-ins with the Prime Minister; though this is clearly Margaret Thatcher, McEwan takes pains to neither name nor so much as reveal the gender of the PM (in fear of libel claims?). Homeless people and gypsies show up multiple times, making Stephen uncomfortable but also drawing his attention. I assumed this was a political point about Thatcher’s influence, with the homeless serving as additional stand-ins for children in a paternalistic society, representing vulnerability and (misplaced) trust.
This is a book club read for our third monthly Zoom meeting, coming up in the first week of June. While it’s odd and not entirely successful, I think it should give us a lot to talk about: the good and bad aspects of reverting to childhood, whether it matters if Kate ever comes back, the caginess about Thatcher, and so on.
Fugitive Pieces by Anne Michaels (1996)
[Orange Prize (now Women’s Prize for Fiction)]
“One can look deeply for meaning or one can invent it.”
Poland, Greece, Canada; geology, poetry, meteorology. At times it felt like Michaels had picked her settings and topics out of a hat and flung them together. Especially in the early pages, the dreamy prose is so close to poetry that I had trouble figuring out what was actually happening, but gradually I was drawn into the story of Jakob Beer, a Jewish boy rescued like a bog body or golem from the ruins of his Polish village. Raised on a Greek island and in Toronto by his adoptive father, a geologist named Athos who’s determined to combat the Nazi falsifying of archaeological history, Jakob becomes a poet and translator. Though he marries twice, he remains a lonely genius haunted by the loss of his whole family – especially his sister, Bella, who played the piano. Survivor’s guilt never goes away. “To survive was to escape fate. But if you escape your fate, whose life do you then step into?”
The final third of the novel, set after Jakob’s death, shifts into another first-person voice. Ben is a student of literature and meteorological history. His parents are concentration camp survivors, so he relates to the themes of loss and longing in Jakob’s poetry. Taking a break from his troubled marriage, Ben offers to go back to the Greek island where Jakob last lived to retrieve his notebooks – which presumably contain all that’s come before. Ben often addresses Jakob directly in the second person, as if to reassure him that he has been remembered. Ultimately, I wasn’t sure what this section was meant to add, but Ben’s narration is more fluent than Jakob’s, so it was at least pleasant to read.
Although this is undoubtedly overwritten in places, too often resorting to weighty one-liners, I found myself entranced by the stylish writing most of the time. I particularly enjoyed the puns, palindromes and rhyming slang that Jakob shares with Athos while learning English, and with his first wife. If I could change one thing, I would boost the presence of the female characters. I was reminded of other books I’ve read about the interpretation of history and memory, Everything Is Illuminated and Moon Tiger, as well as of other works by Canadian women, A Student of Weather and Fall on Your Knees. This won’t be a book for everyone, but if you’ve enjoyed one or more of my readalikes, you might consider giving it a try.
Sacred Country by Rose Tremain (1992)
[James Tait Black Memorial Prize, Prix Fémina Etranger]
In 1952, on the day a two-minute silence is held for the dead king, six-year-old Mary Ward has a distinct thought: “I am not Mary. That is a mistake. I am not a girl. I’m a boy.” Growing up on a Suffolk farm with a violent father and a mentally ill mother, Mary asks to be called Martin and binds her breasts with bandages. Kicked out at age 15, she lives with her retired teacher and then starts to pursue a life on her own terms in London. While working for a literary magazine and dating women, she consults a doctor and psychologist to explore the hormonal and surgical options for becoming the man she believes she’s always been.
Meanwhile, a hometown acquaintance with whom she once shared a dentist’s waiting room, Walter Loomis, gives up his family’s butcher shop to pursue his passion for country music. Both he and Mary/Martin are sexually fluid and, dissatisfied with the existence they were born into, resolve to search for something more. The outsiders’ journeys take them to Tennessee, of all places. But when Martin joins Walter there, it’s an anticlimax. You’d expect their new lives to dovetail together, but instead they remain separate strivers.
At a bare summary, this seems like a simple plot, but Tremain complicates it with many minor characters and subplots. The story line stretches to 1980: nearly three decades’ worth of historical and social upheaval. The third person narration shifts perspective often to show a whole breadth of experience in this small English village, while occasional first-person passages from Mary and from her mother, Estelle, who’s in and out of a mental hospital, lend intimacy. Otherwise, the minor characters feel flat, more like symbols or mouthpieces.
To give a flavor of the book’s many random elements, here’s a decoding of the extraordinary cover on the copy I picked up from the free bookshop:
Crimson background and oval shape = female anatomy, menstruation
Central figure in a medieval painting style, with royal blue cloth = Mary
Masculine muscle structure plus yin-yang at top = blended sexuality
Airplane = Estelle’s mother died in a glider accident
Confederate flag = Tennessee
Cards = fate/chance, conjuring tricks Mary learns at school, fortune teller Walter visits
Cleaver = the Loomis butcher shop
Cricket bat = Edward Harker’s woodcraft; he employs and then marries Estelle’s friend Irene
Guitar = Walter’s country music ambitions
Oyster shell with pearl = Irene’s daughter Pearl, whom young Mary loves so much she takes her (then a baby) in to school for show-and-tell
Cutout torso = the search for the title land (both inward and outer), a place beyond duality
Tremain must have been ahead of the times in writing a trans character. She acknowledged that the premise was inspired by Conundrum by Jan Morris (who, born James, knew he was really a girl from the age of five). I recall that Sacred Country turned up often in the footnotes of Tremain’s recent memoir, Rosie, so I expect it has little autobiographical resonances and is a work she’s particularly proud of. I read this in advance of writing a profile of Tremain for Bookmarks magazine. It feels very different from her other books I’ve read; while it’s not as straightforwardly readable as The Road Home, I’d call it my second favorite from her. The writing is somewhat reminiscent of Kate Atkinson, early A.S. Byatt and Shena Mackay, and it’s a memorable exploration of hidden identity and the parts of life that remain a mystery.
I’m sneaking in just in time here, on the very last day of the #20BooksofSummer challenge, with my final three reviews: two novellas, one of them a work of children’s fantasy; and a nature/travel classic that turns into something more like a spiritual memoir.
The Owl Service by Alan Garner (1967)
I’d heard of Garner, a British writer of classic children’s fantasy novels, but never read any of his work until I picked this up from the free bookshop where I volunteer on a Friday. My husband remembers reading Elidor (also a 1990s TV series) as a boy, but I’m not sure Garner was ever well known in America. Perhaps if I’d discovered this right after the Narnia series when I was a young child, I would have been captivated. I did enjoy the rural Welsh setting, and to start with I was intrigued by the setup: curious about knocking and scratching overhead, Alison and her stepbrother Roger find a complete dinner service up in the attic of this house Alison inherited from her late father. Alison becomes obsessed with tracing out the plates’ owl pattern – which disappears when anyone else, like Nancy the cook, looks at them.
I gather that Garner frequently draws on ancient legend for his plots. Here he takes inspiration from Welsh myths, but the background was so complex and unfamiliar that I could barely follow along. This meant that the climactic ‘spooky’ scenes failed to move me. Instead, I mostly noted the period slang and the class difference between the English children and Gwyn, Nancy’s son, who’s forbidden from speaking Welsh (Nancy says, “I’ve not struggled all these years in Aber to have you talk like a labourer”) and secretly takes elocution lessons to sound less ‘common’.
Can someone recommend a Garner book I might get on with better?
The Snow Leopard by Peter Matthiessen (1978)
For two months of 1973, from late September to late November, Matthiessen joined zoologist George Schaller on a journey from the Nepalese Himalayas to the Tibetan Plateau to study Himalayan blue sheep. Both also harbored a hope of spotting the elusive snow leopard.
Matthiessen had recently lost his partner, Deborah Love, to cancer, and left their children behind – at residential schools or with family friends – to go on this spirit-healing quest. Though he occasionally feels guilty, especially about the eight-year-old, his thoughts are usually on the practicalities of the mountain trek. They have sherpas to carry their gear, and they stop in at monasteries but also meet ordinary people. More memorable than the human encounters, though, are those with the natural world. Matthiessen watches foxes hunting and griffons soaring overhead; he marvels at alpine birds and flora.
The writing is stunning. No wonder this won a 1979 National Book Award (in the short-lived “Contemporary Thought” category, which has since been replaced by a general nonfiction award). It’s a nature and travel writing classic. However, it took me nearly EIGHTEEN MONTHS to read, in all kinds of fits and starts (see below), because I could rarely read more than part of one daily entry at a time. I struggle with travel narratives in general – perhaps I think it’s unfair to read them faster than the author lived through them? – but there’s also an aphoristic density to the book that requires unhurried, meditative engagement.
The mountains in their monolithic permanence remind the author that he will die. The question of whether he will ever see a snow leopard comes to matter less and less as he uses his Buddhist training to remind himself of tenets of acceptance (“not fatalism but a deep trust in life”) and transience: “In worrying about the future, I despoil the present”; what is this “forever getting-ready-for-life instead of living it each day”? I’m fascinated by Buddhism, but anyone who ponders life’s deep questions should get something out of this.
Who Will Run the Frog Hospital? by Lorrie Moore (1994)
Thanks to Cathy for reminding me about this one – I had intended to make it one of my novellas for November, but as I was scrambling around to find a last couple of short books to make up my 20 I thought, “Frog! hey, that fits”* and picked it up.
Oddly, given that Moore is so well known for short stories, I’ve only ever read two of her novels (the other was A Gate at the Stairs). Berie Carr lives just over the border from Quebec in Horsehearts, a fictional town in upstate New York. She and her best friend Sils are teenagers at the tail end of the Vietnam War, and work at Storyland amusement park on the weekends and during the summer. When Sils gets into trouble, Berie starts pocketing money from the cash register to help her out, but it will only be so long until she gets caught and the course of her life changes.
Berie is recounting these pivotal events from adulthood, when she’s traveling in Paris with her husband, Daniel. There are some troubling aspects to their relationship that don’t get fully explored, but that seems to be part of the point: we are always works in progress, and never as psychologically well as we try to appear. I most enjoyed the book’s tone of gentle nostalgia: “Despite all my curatorial impulses and training, my priestly harborings and professional, courtly suit of the past, I never knew what to do with all those years of one’s life: trot around in them forever like old boots – or sever them, let them fly free?”
Moore’s voice here reminds me of Amy Bloom’s and Elizabeth McCracken’s, though I’ve generally enjoyed those writers more.
*There are a few literal references to frogs (as well as the understood slang for French people). The title phrase comes from a drawing Sils makes about their mission to find and mend all the swamp frogs that boys shoot with BB guns. Berie also remarks on the sound of a frog chorus, and notes that two decades later frogs seem to be disappearing from the earth. In both these cases frogs are metaphors for a lost innocence. “She has eaten the frog” is also, in French, a slang term for taking from the cash box.
(I can’t resist mentioning Berie and Sils’ usual snack: raw, peeled potatoes cut into quarters and spread with margarine and salt!)
A recap of my 20 Books of Summer:
- I enjoyed my animal theme, which was broad enough to encompass straightforward nature books but also a wide variety of memoirs and fiction. In most cases there was a literal connection between the animal in the title and the book’s subject.
- I read just nine of my original choices, plus two of the back-ups. The rest were a mixture of: books I brought back from America, review copies, books I’d started last year and set aside for ages, and ones I had lying around and had forgotten were relevant.
- I accidentally split the total evenly between fiction and nonfiction: 10 of each.
- I happened to read three novels by Canadian authors. The remainder were your usual British and American suspects.
- The clear stand-out of the 20 was Crow Planet by Lyanda Lynn Haupt, followed closely by The Snow Leopard (see above) and The Seafarers by Stephen Rutt – all nonfiction!
- In my second tier of favorites were three novels: Fifteen Dogs, The Unchangeable Spots of Leopards, and Crow Lake.
I also had three DNFs that I managed to replace in time.
Hollow Kingdom by Kira Jane Buxton [a review copy – and one of my Most Anticipated titles]
(I managed the first 36 pages.) Do you have a friend who’s intimidatingly sharp, whose every spoken or written line leaps from wordplay to a joke to an allusion to a pun? That’s how I felt about Hollow Kingdom. It’s so clever it’s exhausting.
I wanted to read this because I’d heard it’s narrated by a crow. S.T. (Shit Turd) is an American Crow who lives with an electrician, Big Jim, in Seattle, along with Dennis the dumb bloodhound. One day Jim’s eyeball pops out and he starts acting crazy and spending all his time in the basement. On reconnaissance flights through the neighborhood, S.T. realizes that all the humans (aka “MoFos” or “Hollows”) are similarly deranged. He runs into a gang of zombies when he goes to the Walgreens pharmacy to loot medications. Some are even starting to eat their pets. (Uh oh.)
We get brief introductions to other animal narrators, including Winnie the Poodle and Genghis Cat. An Internet-like “Aura” allows animals of various species to communicate with each other about the crisis. I struggle with dystopian and zombie stuff, but I think I could make an exception for this. Although I do think it’s overwritten (one adverb and four adjectives in one sentence: “We left slowly to the gentle song of lugubrious paw pads and the viscous beat of crestfallen wings”), I’ll try it again someday.
Gould’s Book of Fish: A Novel in Twelve Fish by Richard Flanagan: I read the first 164 pages last year before stalling; alas, I could make no more headway this summer. It’s an amusing historical pastiche in the voice of a notorious forger and counterfeiter who’s sentenced to 14 years in Van Diemen’s Land. I could bear only so much of this wordy brilliance, and no more.
Tisala by Richard Seward Newton: I guess I read the blurb and thought this was unmissable, but I should have tried to read a sample or some more reviews of it. I got to page 6 and found it so undistinguished and overblown that I couldn’t imagine reading another 560+ pages about a whale.
For next year, I’m toying with the idea of a food and drink theme. Once again, this would include fiction and nonfiction that is specifically about food but also slightly more cheaty selections that happen to have the word “eats” or “ate” or a potential foodstuff in the title, or have an author whose name brings food to mind. I perused my shelf and found exactly 20 suitable books, so that seems like a sign! (The eagle-eyed among you may note that two of these were on my piles of potential reads for this summer, and two others on last summer’s. When will they ever actually get read?!)
Alternatively, I could just let myself have completely free choice from my shelves. My only non-negotiable criterion is that all 20 books must be ones that I own, to force me to get through more from my shelves (even if that includes review copies).
How did you fare with your summer reading?
I’m grateful to Lory (of The Emerald City Book Review) for hosting this past week’s Robertson Davies readalong, which was my excuse to finally try him for the first time. Of course, Canadians have long recognized what a treasure he is, but he’s less known elsewhere. I do remember that Erica Wagner, one of my literary heroes (an American in England; former books editor of the London Times, etc.), has expressed great admiration for his work.
I started with what I had to hand: Fifth Business (1970), the first volume of The Deptford Trilogy. In the theatre world, the title phrase refers to a bit player who yet has importance to the outcome of a drama, and that’s how the narrator, Dunstan Ramsay, thinks of himself. I was reminded right away of the opening of Charles Dickens’s David Copperfield: “Whether I shall turn out to be the hero of my own life, or whether that station will be held by anybody else, these pages must show.” In the first line Ramsay introduces himself in relation to another person: “My lifelong involvement with Mrs. Dempster began at 5.58 o’clock p.m. on 27 December 1908, at which time I was ten years and seven months old.”
Specifically, he dodged a snowball meant for him – thrown by his frenemy, Percy Boyd Staunton – and it hit Mrs. Dempster, wife of the local Baptist minister, in the back of the head, knocking her over and 1) sending her into early labor with Paul, who also plays a major role in the book; and 2) permanently compromising her mental health. Surprisingly, given his tepid Protestant upbringing, Ramsay becomes a historian of Christian saints, and comes to consider Mrs. Dempster part of his personal pantheon for a few incidents he thinks of as miracles – not least his survival during First World War service. And this is despite Mrs. Dempster being caught in a situation that seriously compromises her standing in Deptford.
The novel is presented as a long, confessional letter Ramsay writes, on the occasion of his retirement, to the headmaster of the boys’ school where he taught history for 45 years. Staunton, later known simply as “Boy,” becomes a sugar magnate and politician; Paul becomes a world-renowned illusionist known by various stage names. Both Paul and Ramsay are obsessed with the unexplained and impossible, but where Paul manipulates appearances and fictionalizes the past, Ramsay looks for miracles. The Fool, the Saint and the Devil are generic characters we’re invited to ponder; perhaps they also have incarnations in the novel?
Fifth Business ends with a mysterious death, and though there are clues that seem to point to whodunit, the fact that the story segues straight into a second volume, with a third to come, indicates that it’s all more complicated than it might seem. I was so intrigued that, thanks to my omnibus edition, I carried right on with the first chapter of The Manticore (1972), which is also in the first person but this time narrated by Staunton’s son, David, from Switzerland. Freudian versus Jungian psychology promises to be a major dichotomy in this one, and I’m sure that the themes of the complexity of human desire, the search for truth and goodness, and the difficulty of seeing oneself and others clearly will crop up once again.
This was a very rewarding reading experience. I’d recommend Davies to those who enjoy novels of ideas, such as Iris Murdoch’s. I’ll carry on with at least the second volume of the trilogy for now, and I’ve also acquired the first volume of another, later trilogy to try.
Some favorite lines:
“I cannot remember a time when I did not take it as understood that everybody has at least two, if not twenty-two, sides to him.”
“Forgive yourself for being a human creature, Ramezay. That is the beginning of wisdom; that is part of what is meant by the fear of God; and for you it is the only way to save your sanity.”
It’s also fascinating to see the contrast between how Ramsay sees himself, and how others do:
“it has been my luck to appear more literate than I really am, owing to a cadaverous and scowling cast of countenance, and a rather pedantic Scots voice”
“Good God, don’t you think the way you rootle in your ear with your little finger delights the boys? And the way you waggle your eyebrows … and those horrible Harris tweed suits you wear … And that disgusting trick of blowing your nose and looking into your handkerchief as if you expected to prophesy something from the mess. You look ten years older than your age.”
I was slow to launch into my 20 Books of Summer reading, but have now finally managed to get through my first four books. These include two substitutes: a review copy I hadn’t realized fit in perfectly with my all-animals challenge, and a book I’d started earlier in the year but set aside and wanted to get back into. Three of the four were extremely rewarding; the last was somewhat insubstantial, though I always enjoy reading about cat antics. All have been illuminating about animal intelligence and behavior, and useful for thinking about our place in and duty towards the more-than-human world. Not all of my 20 Books of Summer will have such an explicit focus on nature – some just happen to have an animal in the title or pictured on the cover – but this first batch had a strong linking theme so was a great start.
Fifteen Dogs by André Alexis (2015)
In this modern folk tale with elements of the Book of Job, the gods Apollo and Hermes, drinking in a Toronto tavern, discuss the nature of human intelligence and ponder whether it’s inevitably bound up with suffering. They decide to try an experiment, and make a wager on it. They’ll bestow human intelligence on a set of animals and find out whether the creatures die unhappy. Apollo is willing to bet two years’ personal servitude that they will be even unhappier than humans. Their experimental subjects are the 15 dogs being boarded overnight at a nearby veterinary clinic.
The setup means we’re in for an And Then There Were None type of picking-off of the 15, and some of the deaths are distressing. But strangely – and this is what the gods couldn’t foresee – knowledge of their approaching mortality gives the dogs added dignity. It gives their lives and deaths the weight of Shakespearean tragedy. Although they still do doggy things like establishing dominance structures and eating poop, they also know the joys of language and love. A mutt called Prince composes poetry and jokes. Benjy the beagle learns English well enough to recite the first paragraph of Vanity Fair. A poodle named Majnoun forms a connection with his owner that lasts beyond the grave. The dogs work out who they can trust; they form and dissolve bonds; they have memories and a hope that lives on.
It’s a fascinating and inventive novella, and a fond treatment of the relationship between dogs and humans. When I read in the Author’s Note that the poems all included dogs’ names, I went right back to the beginning to scout them out. I’m intrigued by the fact that this Giller Prize winner is a middle book in a series, and keen to explore the rest of the Trinidanian-Canadian author’s oeuvre.
These next two have a lot in common. For both authors, paying close attention to the natural world – birds, in particular – is a way of coping with environmental and mental health crises.
Crow Planet: Essential Wisdom from the Urban Wilderness by Lyanda Lynn Haupt (2009)
Lyanda Lynn Haupt has worked in bird research and rehabilitation for the Audubon Society and other nature organizations. (I read her first book, Rare Encounters with Ordinary Birds, quite a few years ago.) During a bout of depression, she decided to start paying more attention to the natural world right outside her suburban Seattle window. Crows were a natural place to start. From then on she took binoculars everywhere she went, even on walks to Target. She spent time watching crows’ behavior from a distance or examining them up close – devoting hours to studying a prepared crow skin. She even temporarily took in a broken-legged fledgling she named Charlotte and kept a close eye on the injured bird’s progress in the months after she released it.
Were this simply a charming and keenly observed record of bird behavior and one woman’s gradual reawakening to the joys of nature, I would still have loved it. Haupt is a forthright and gently witty writer. But what takes it well beyond your average nature memoir is the bold statement of human responsibility to the environment. I’ve sat through whole conference sessions that try to define what nature is, what the purpose of nature writing is, and so on. Haupt can do it in just a sentence, concisely and effortlessly explaining how to be a naturalist in a time of loss and how to hope even when in possession of all the facts.
A few favorite passages:
“an intimate awareness of the continuity between our lives and the rest of life is the only thing that will truly conserve the earth … When we allow ourselves to think of nature as something out there, we become prey to complacency. If nature is somewhere else, then what we do here doesn’t really matter.”
“I believe strongly that the modern naturalist’s calling includes an element of activism. Naturalists are witnesses to the wild, and necessary bridges between ecological and political ways of knowing. … We join the ‘cloud of witnesses’ who refuse to let the more-than-human world pass unnoticed.”
“here we are, intricate human animals capable of feeling despair over the state of the earth and, simultaneously, joy in its unfolding wildness, no matter how hampered. What are we to do with such a confounding vision? The choices appear to be few. We can deny it, ignore it, go insane with its weight, structure it into a stony ethos with which we beat our friends and ourselves to death—or we can live well in its light.”
The Seafarers: A Journey among Birds by Stephen Rutt (2019)
In 2016 Rutt left his anxiety-inducing life in London in a search for space and silence. He found plenty of both on the Orkney Islands, where he volunteered at the North Ronaldsay bird observatory for seven months. In the few years that followed, the young naturalist travelled the length and breadth of the British Isles – from Skomer to Shetland – courting encounters with seabirds. He’s surrounded by storm petrels one magical night at Mousa Broch; he runs from menacing skuas; he watches eider and terns and kittiwakes along the northeast coast; he returns to Orkney to marvel at gannets and fulmars. Whether it’s their beauty, majesty, resilience, or associations with freedom, such species are for him a particularly life-enhancing segment of nature to spend time around.
Discussion of the environmental threats that hit seabirds hardest, such as plastic pollution, makes for a timely tie-in to wider conservation issues. Rutt also sees himself as part of a long line of bird-loving travellers, including James Fisher and especially R.M. Lockley, whose stories he weaves in. This is one of the best nature/travel books I’ve read in a long time, especially enjoyable because I’ve been to a lot of the island locations and the elegantly evocative writing, making particularly effective use of varied sentence lengths, brought back to me just what it’s like to be in the far north of Scotland in the midst of an endless summer twilight, a humbled observer as a whole whirlwind of bird life carries on above you.
A favorite passage:
“Gannets nest on the honeycombs of the cliff, in their thousands. They sit in pairs, pointing to the sky, swaying heads. They stir. The scent of the boat’s herring fills the air. They take off, tessellating in a sky that is suddenly as much bird as light. The great skuas lurk.”
My husband also reviewed this, from a birder’s perspective.
With thanks to Elliott & Thompson for the proof copy for review.
The Coming of Saska by Doreen Tovey (1977)
I’ve read four of Tovey’s quaint Siamese cat books now; this was the least worthwhile. It’s partially a matter of false advertising: Saska only turns up for the last 15 pages, as a replacement of sorts for Seeley, who disappeared one morning a year earlier and was never seen again. Over half of the book, in fact, is about a trip Tovey and her husband Charles took to Edmonton, Canada. The Canadian government sponsored them to come over for the Klondike Days festivities, and they also rented a camper and went looking for bears and moose. Mildly amusing mishaps, close shaves, etc. ensue. They then come back and settle into everyday life with their pair of Siamese half-siblings; Saska had the same father as Shebalu. Entertaining enough, but slight, and with far too many ellipses.
This is my second time taking part in Cathy’s 20 Books of Summer project. Once again I plan to focus solely on books that I own to try to get through a respectable number of them. For 2019 I’ve decided to read books that are about animals or have an animal in the title. I’ve set aside a few back-ups (the ones standing upright in the photos), and if I’m struggling I can cheat a bit by including books that happen to have an animal on the cover.
In the interest of statistics … last year I read eight nonfiction titles and 12 fiction – so that’s exactly what I’ve pulled out for this year. (For the record, I only intend to read the first of Updike’s Rabbit novels at this stage.) I have two re-reads set aside this time (Julian Barnes and Abigail Thomas) versus one last year. Last year I read one doorstopper; this year I don’t have any on the docket. In 2018 I was particularly proud of getting through two short story collections, so this year I’ve chosen one animal-themed one to read. Randomly, three of last year’s books were review copies from publishers or the author, and three were signed copies. This time I have none of either, unless I do some substituting.
Also interesting to note is that this year three of the books I’ve picked are by Canadian authors (André Alexis, Michael Crummey and Mary Lawson), and another has a Canadian setting (The Tenderness of Wolves). Canadian readers, rejoice!
Another project I might join in with this summer is the Robertson Davies reading week – I own his Deptford trilogy, and would at least read one of the books, if not attempt all three.
What are your summer reading plans?
Last month I picked out this exchange from East of Eden by John Steinbeck:
“But the Irish are said to be a happy people, full of jokes.”
“They’re not. They’re a dark people with a gift for suffering way past their deserving. It’s said that without whisky to soak and soften the world, they’d kill themselves. But they tell jokes because it’s expected of them.”
There’s something about that mixture of darkness and humor, isn’t there? I also find that Irish art (music as well as literature) has a lot of heart. I only read two Ireland-related historical novels this month, but they both have that soulful blend of light and somber. Both:
Things in Jars by Jess Kidd (2019)
In the autumn of 1863 Bridie Devine, female detective extraordinaire, is tasked with finding the six-year-old daughter of a baronet. Problem is, this missing girl is no ordinary child, and collectors of medical curiosities and circus masters alike are interested in acquiring her.
In its early chapters this delightful Victorian pastiche reminded me of a cross between Sarah Waters’s Fingersmith and Neil Gaiman’s The Graveyard Book, and that comparison played out pretty well in the remainder. Kidd paints a convincingly gritty picture of Dickensian London, focusing on an underworld of criminals and circus freaks: when Bridie first arrived in London from Dublin, she worked as an assistant to a resurrectionist; her maid is a 7-foot-tall bearded lady; and her would-be love interest, if only death didn’t separate them, is the ghost of a heavily tattooed boxer.
Medicine (surgery – before and after anesthesia) and mythology (mermaids and selkies) are intriguing subplots woven through, such that this is likely to appeal to fans of The Way of All Flesh and The Mermaid and Mrs Hancock. Kidd’s prose is spry and amusing, particularly in her compact descriptions of people (but also in her more expansive musings on the dirty, bustling city): “a joyless string of a woman, thin and pristine with a halibut pout,” “In Dr Prudhoe’s countenance, refinement meets rogue,” and “People are no more than punctuation from above.”
I’ll definitely go back and read Kidd’s two previous novels, Himself and The Hoarder. I didn’t even realize she was Irish, so I’m grateful to Cathy for making me aware of that in her preview of upcoming Irish fiction. [Trigger warnings: violence against women and animals.] (Out from Canongate on April 4th.)
Away by Jane Urquhart (1993)
I was enraptured from the first line: “The women of this family leaned towards extremes” – starting with Mary, who falls in love with a sailor who washes up on the Irish coast in the 1840s amid the cabbages, silver teapots and whiskey barrels of a shipwreck and dies in her arms. Due to her continued communion with the dead man, people speak of her being “away with the fairies,” even after she marries the local schoolteacher, Brian O’Malley.
With their young son, Liam, they join the first wave of emigration to Canada during the Potato Famine, funded by their landlords, the Sedgewick brothers of Puffin Court (amateur naturalist Osbert and poet Granville). No sooner have the O’Malleys settled and had their second child, Eileen, than Mary disappears. As she grows, Eileen takes after her mother, mystically attuned to portents and prone to flightiness, while Liam is a happily rooted Great Lakes farmer. Like Mary, Eileen has her own forbidden romance, with a political revolutionary who dances like a dream.
I’ve been underwhelmed by other Urquhart novels, Sanctuary Line and The Whirlpool, but here she gets it just right, wrapping her unfailingly gorgeous language around an absorbing plot – which is what I felt was lacking in the others. The Ireland and Canada settings are equally strong, and the spirit of Ireland – the people, the stories, the folk music – is kept alive abroad. I recommend this to readers of historical fiction by Margaret Atwood, A.S. Byatt and Hannah Kent.
Some favorite lines:
Osbert says of Mary: “There’s this light in her, you see, and it must not be put out.”
“When summer was finished the family was visited by a series of overstated seasons. In September, they awakened after night frosts to a woods awash with floating gold leaves and a sky frantic with migrating birds – sometimes so great in number that they covered completely with their shadows the acre of light and air that Brian had managed to create.”
“There are five hundred and forty different kinds of weather out there, and I respect every one of them. White squalls, green fogs, black ice, and the dreaded yellow cyclone, just to mention a few.”
Did you manage to read any Irish literature this month?
My 2017 goal of reading one book of 500+ pages per month has been a mixed success. With the best doorstoppers the pages fly by and you enjoy every minute spent in a fictional world. From this past year Murakami’s The Wind-Up Bird Chronicle fits that bill, and a couple of novels I read years ago on holidays also come to mind: Susanna Clarke’s Jonathan Strange and Mr. Norrell and Michel Faber’s The Crimson Petal and the White. But then there are the books that feel like they’ll never end and you have to drag yourself through page by page.
Unfortunately, Steven Price’s second novel, By Gaslight, a Victorian cat-and-mouse mystery, tended more towards the latter group for me. Like Eleanor Catton’s The Luminaries, it has the kernel of a fascinating story but piles up the words unnecessarily. Between July and August I read the first 300 pages and then skimmed the rest (in total the paperback has 731 small-type pages). This is the story of William Pinkerton, a 39-year-old Civil War veteran and private investigator from Chicago who comes to London in 1885 to chase up a name from his father’s files: Edward Shade. His best lead comes to nothing when Charlotte Reckitt evades him and turns up as a set of dismembered remains in the Thames. Keeping in mind the rudimentary state of forensics, though, there’s some uncertainty about the corpse’s identity.
The other central character in this drama is Adam Foole, a master thief. Half Indian and half English, he has violet eyes and travels in the company of Molly, a young pickpocket he passes off as his daughter, and Japheth Fludd, a vegetarian giant just out of prison. Foole was Charlotte’s lover ten years ago in South Africa, where they together pulled off a legendary diamond heist. Now he’s traveling back to England: she’s requested his help with a job as she knows she’s being tailed by a detective. The remaining cast is large and Dickensian: a medium and her lawyer brother, Charlotte’s imprisoned uncle, sewer dwellers, an opium dealer, and so on. Settings include a rare goods emporium, a Miss Havisham-type lonely manor house, the Record Office at Chancery Lane, and plenty of shabby garrets.
What I most enjoyed about the book was the restless, outlaw spirit of both main characters, but particularly Pinkerton. His troubled relationship with his father, in whose footsteps he’s following as a detective, is especially poignant: “William feared him and loved him and loathed him every day of his life yet too not a day passed that he did not want to be him.”
Price’s style is not what you’d generally expect of a Victorian pastiche. He uses no speech marks and his punctuation is non-standard, with lots of incomplete or run-in sentences like the one above. The critics’ blurbs liken By Gaslight to William Faulkner or Cormac McCarthy, apt comparisons that tell you just how unusual a hybrid it is.
I liked Price’s writing and starting around page 150 found the book truly gripping for a time, but extended flashbacks to Pinkerton and Foole’s earlier years really drag the story down, taking away from the suspense of the hunt. Meanwhile, the two major twists aren’t confirmed until over halfway through, but are hinted at so early that the watchful reader will know what’s going on long before the supposedly shrewd Pinkerton does. The salient facts about both characters’ past might have been conveyed in one short chapter each and the 1885 plot streamlined to make a taut novel of less than half the length.
There are many reasons to admire this Canadian novelist’s achievement, but whether it’s a reading experience you’d enjoy is something you’ll have to decide for yourself.
A favorite passage:
There is in every life a shadow of the possible, she said to him. The almost and the might have been. There are the histories that never were. We imagine we are keeping our accounts but what we are really saying is, I was here, I was real, this did happen once. It happened.
By Gaslight was first published in the UK by Oneworld in September 2016. My thanks to Margot Weale for sending a free paperback for review.
Fun trivia: Steven Price is married to Esi Edugyan, author of the Booker Prize-shortlisted novel Half Blood Blues.
A Jest of God (1966) is the second in Margaret Laurence’s five-novel Manawaka sequence; it followed The Stone Angel (1964), which I reviewed here back in December. Recently reissued as part of the Apollo Classics imprint from Head of Zeus Books, these two books have been a wonderful opportunity for me to further my knowledge of Canadian literature.
Although Rachel Cameron, the narrator of A Jest of God, is a 34-year-old second-grade teacher who still lives with her mother, she has attributes in common with 90-year-old Hagar Shipley, the unforgettable central character of The Stone Angel. Both have a history of sexual hang-ups – Rachel’s in the form of erotic dreams – and experience temporary losses of self-control. The most striking example is when Rachel reluctantly accepts her fellow teacher Calla’s invitation to her Pentecostal church and, though she is mortified at hearing others speaking in tongues, involuntarily enters in herself with hysterical crying.
I loved this sequence. The Tabernacle of the Risen and Reborn provides such a contrast to Rachel’s mother’s staid church tradition, and it’s a perfect introduction to Rachel’s patterns of pride and embarrassment (another link to Hagar). Although Rachel frequently issues stern orders to herself – “Now, then. Enough of this. The main thing is to be sensible, to stop thinking and to go to sleep” – she can’t seem to stop worrying and second-guessing. This applies to her career as well as to her personal relationships. With her principal’s support, she takes surprisingly stern action against her favorite pupil when he starts playing truant.
It’s hard to say much more about the plot without giving too much away. Do I emulate the vagueness of the back cover blurb and simply explain that Rachel unexpectedly “falls in love for the first time, and embarks upon an affair that will change her life in unforeseen ways”? I’d prefer to go into a bit more depth, so if you want to avoid learning what happens I suggest skipping over my next few paragraphs.
To start with it seems Rachel’s best romantic prospect is Calla, who’s certainly interested. But about a third of the way into the novel, as the boredom of the long summer vacation is setting in, Nick Kazlik returns to town. He was the milkman’s son and Rachel’s childhood acquaintance, and is now a high school teacher in another town. They go out to a movie and share a kiss, and from there their relationship progresses rapidly. Rachel loses her virginity to him out in a field, and the more sex they have the more she’s seized with a belated terror of pregnancy. No doubt her anxiety about motherhood is colored by her passive-aggressive relationship with her own mother, whose dodgy heart leaves her utterly dependent on Rachel.
The novel reminded me most of Margaret Drabble’s The Millstone and Carrie Snyder’s Girl Runner. Like the protagonists of those novels, Rachel’s options seem stark: acquiring a secret abortion, or changing her life irrevocably by having a child out of wedlock. As the title phrase suggests, Rachel feels God is laughing at her presumptuousness: first for believing she might be loved in proportion to her own passion, and then for thinking she could become a mother. I wasn’t fond of the way the book backtracked on this main source of tension at the end. A retreat from calamity might seem fitting given Rachel’s usual overthinking, but the resolution felt to me like too much of a deus ex machina reprieve.
Ultimately, I found Nick and Rachel’s affair the least interesting element of this novel. Compared with the friendship with Calla, the startling religious experience, the interactions with pupils and the school principal, the troubled mother–daughter relationship, and an odd late-night encounter with the new owner of her late father’s funeral parlor, what’s a bit of sex? We’re meant to rejoice at Rachel’s chance at romance, I think, but also to recognize it as a fleeting but necessary spur to an altered life.
Two aspects of this reprint edition deserve a mention. There’s a terrific afterword from Margaret Atwood recalling meeting Laurence, her literary idol, at the Governor General’s Awards ceremony in 1967 (Atwood won for poetry and Laurence won for fiction with this novel). Apollo Classics have also chosen an excellent cover image: a 1960 photograph by Rosemary Gilliat Eaton entitled Woman preparing paint for an art class, Frobisher Bay.Once again, I enjoyed Laurence’s turns of phrase, especially when describing people: Calla is a “wind-dishevelled owl,” while the six-foot-tall Rachel sees herself in the mirror as “this giraffe woman, this lank scamperer.” But the overall story for me was significantly less memorable than The Stone Angel. It sounds like the third book of the Manawaka series will center on Rachel’s older sister Stacey, who lives near Vancouver with her husband and four children. Whether I’ll ever read this and the final two I couldn’t say, but I’m glad to have had a chance to read a couple of fine examples of Laurence’s work. (And I’m keen to read her memoir, Dance on the Earth, which draws on the five years she and her husband lived in Africa.)
With thanks to Blake Brooks at Head of Zeus/Apollo Classics for the free copy for review.