Tag Archives: Chelsea Green Publishing

Remainders of the Day by Shaun Bythell & What Remains? by Rupert Callender

I raced to finish all the September releases on my stack by the 30th, thinking I’d review them in one go, but that ended up being far too unwieldy. There was way too much to say about each of these excellent books (the first two pairs are here and here; Blurb Your Enthusiasm by Louise Willder is still to come, probably on Wednesday). I’ve mentioned before that the month’s crop of nonfiction was about either books or death. Here’s one of each, linked by their ‘remain’ titles. Both:

 

Remainders of the Day: More Diaries from The Bookshop, Wigtown by Shaun Bythell

It’s just over five years since many of us were introduced to Wigtown and the ups and downs of running a bookshop there through Shaun Bythell’s The Diary of a Bookseller. (I’ve also reviewed the follow-up, Confessions of a Bookseller, which was an enjoyable read for me during a 2019 trip to Milan, and 2020’s Seven Kinds of People You Find in Bookshops.)

This third volume opens in February 2016. As in its predecessors, each monthly section is prefaced by an epigraph from a historical work on bookselling – this time R. M. Williamson’s 1904 Bits from an Old Bookshop. It’s the same winning formula as ever: the nearly daily entries start with the number of online orders received and filled, and end with the number of customers and the till takings for the day. (The average spend seems to be £10 per customer, which is fine in high tourist season but not so great in November and December when hardly anyone walks through the door.) In between, Bythell details notable customer encounters, interactions with shop helpers or local friends, trips out to buy book collections or go fishing, Wigtown events including the book festival, and the occasional snafu like the boiler breaking during a frigid November or his mum being hospitalized with a burst ulcer.

Reading May Sarton’s Encore recently, I came across a passage where she is reading a fellow writer’s journal (Doris Grumbach’s Coming into the End Zone):

I find hers extremely good reading, so I cannot bear to stop. I am reading it much too fast and I think I shall have to read it again. I know that I must not swallow it whole. There is something about a journal, I think, that does this to readers. So many readers tell me that they cannot put my journals down.

I’ve heard Zadie Smith say the same about Karl Ove Knausgaard’s My Struggle: it’s just the stuff of prosaic, everyday life and yet she refers to his memoirs/autofiction as literary crack.

I often read a whole month’s worth of entries at a sitting. I can think of a few specific reasons why Bythell’s journals are such addictive reading:

  • “Sometimes you want to go where everybody knows your name.” Small-town settings are irresistible for many readers, and by now the fairly small cast of characters in Bythell’s books feel like old friends. Especially having been to Wigtown myself, I can picture many of the locations he writes about, and you get the rhythm of the seasons and the natural world as well as the town’s ebb and flow of visitors.
  • (A related point) You know what to expect, and that’s a comforting thing. Bythell makes effective use of running gags. You know that when Granny, an occasional shop helper from Italy, appears, she will complain about her aches and pains, curse at Bythell and give him the finger. Petra’s belly-dancing class (held above the shop) will inevitably be poorly attended. If Eliot is visiting, he is sure to leave his shoes right where everyone will trip over them. Captain the cat will be portly and infuriating.
  • What I most love about the series is the picture of the life cycle of books, from when they first enter the shop, or get picked up in his van, to when rejects are dropped at a Glasgow recycling plant. What happens in the meantime varies, with once-popular authors falling out of fashion while certain topics remain perennial bestsellers in the shop (railways, ornithology). There’s many a serendipitous moment when he comes across a book and it’s just what a customer wants, or buys a book as part of a lot and then sells it online the very next day. New, unpriced stock is always quick to go.

Also of note in this volume are his break-up with Amazon, after his account falls victim to algorithms and is suspended, the meta moment where he signs his first book contract with Profile, and the increasing presence of the Bookshop Band, who moved to Wigtown later in 2017. Bythell doesn’t seem to get much time to read – it’s a misconception of the bookselling life that you do nothing but read all day; you’d be better off as a book reviewer if that’s what you want – but when he does, it’s generally an intense experience: E.M. Forster’s sci-fi novella The Machine Stops (who knew it existed?!), Barbara Comyns’s A Touch of Mistletoe, Jonathan Safran Foer’s Everything Is Illuminated, and Oscar Wilde’s De Profundis.

I’m torn as to whether I hope there will be more year by year volumes filling in to the present day. As Annabel noted, the ‘where they are now’ approach in the Epilogue rather suggests that he and his publisher will leave it here at a trilogy. This might be for the best, as a few more pre-Covid years of the same routines could get old, though nosey parkers like myself will want to know how a confirmed bachelor turned into a family man…

Some favourite lines:

“Quiet day in the shop; even the cat looked bored.” (31 October)

“The life of the secondhand bookseller mainly involves moving boxes from one place to another, and trying to make them fit into a small space, like some sort of awful game of Tetris.”

(10 February and 15 March are great stand-alone entries that give a sense of what the whole is like. There are a lot of black-and-white photos printed amid the text in the first month; it’s a shame these don’t carry on through.)

With thanks to Profile Books for the free copy for review.

 

What Remains?: Life, Death and the Human Art of Undertaking by Rupert Callender

Call me morbid or call me realistic; in the last decade and a half I have read a lot of books about death, including terminal illness and bereavements. I’ve even read several nonfiction works by American mortician Caitlin Doughty. But I’ve not read anything quite like punk undertaker Rupert Callender’s manifesto about modern death and how much we get wrong in our conceptualization and conversations. It was poignant to be reading this in the weeks surrounding Queen Elizabeth II’s death – a time when death got more discussion than usual, yes, but when there was also some ridiculous pomp that obscured the basic human facts of it.

Callender is not okay with death, and never has been. When he was seven, his father died of a heart attack at age 63. His 1970s Edinburgh upbringing was shattered and his mother, who he has no doubt was doing her best, made a few terrible mistakes. First, a year before, she’d reassured him that his father wasn’t going to die. Second, she didn’t make him attend the funeral. (I still wish my mother had made me go back to tour my late grandmother’s house one final time when I was seven; instead, I stayed behind and played on a Ouija board with my cousins.) Third, she soon sent Callender away to boarding school, which left him feeling alone and betrayed. And lastly, when she died of cancer when he was 25, she had planned every detail of her funeral – whereas he believes that is a task for the survivors.

An orphan in his late twenties, Callender came across The Natural Death Handbook and it sealed his future. He’d been expelled from school and blown his inheritance; acid house culture had given him a sense of community. Now he had a vocation. The first funeral he coordinated was for a postman named Barry. The fourth was a suicide. Their first child burial was one of his partner’s daughter’s classmates.

Over the next two decades, he and his (now ex-)wife Claire based Totnes’ The Green Funeral Company on old-fashioned values and homespun ceremonies. They oppose the overmedicalization of death and the clinical detachment of places like crematoria. Callender is vehemently anti-embalming – an intrusive process that involves toxic substances. They encourage the bereaved to keep the body at home for the week before a funeral, if they feel able (ice packs like you’d use in a picnic cool bag will work a treat), and to be their own pallbearers to make the memory of the funeral day a physical one. He performs the eulogies himself, and they use cardboard coffins.

This is a slippery work for how it intersperses personal stories with polemic and poetic writing. Despite a roughly chronological throughline, it feels more like a thematic set of essays than a sequential narrative. Callender has turned death rituals into both performance art (including at festivals and in collaboration with The KLF) and political protests (e.g., a public funeral he conducted for a homeless man who died of exposure, the third such death in his town that year). While he doesn’t shy away from the gruesome realities of dealing with corpses, he always brings it back to fundamentals: matter is what we are, but who we were lives on in others’ loving memories. Death rituals plug us into a human lineage and proclaim meaning in the face of nothingness. Whether you’ve seen/read it all or never considered picking up a book about death, I recommend Callender’s sui generis approach.

Some favourite lines:

“[The practice of having official pallbearers] is all part of the emotional infantilising encouraged by the funeral industry, all part of being turned into an audience at one of the most significant moments in your family history, instead of being empowered as a family and a community.”

“each death we experience contains every death we have ever lived through, Russian dolls of bereavement waiting to be unpacked.”

“Only once you are dead can the full arc of your life be clearly seen, and telling that story out loud and truthfully to the people who shared it is a powerful social act that both binds us together and place us within our culture.”

With thanks to Chelsea Green for the proof copy for review.

 

And as a bonus, given that today is Indigenous Peoples’ Day in the USA, here’s an excerpt from my Shelf Awareness review of another book that came out last month:

No Country for Eight-Spot Butterflies: A Lyric Essay by Julian Aguon 

An indigenous human rights lawyer, Aguon is passionate about protecting his homeland of Guam, which is threatened by climate change and military expansion. His tender collage of autobiographical vignettes and public addresses inspires activism and celebrates beauty worth preserving. The U.S. Department of Defense’s plan to site more Marines and firing ranges on Guam will destroy more than 1,000 acres of limestone forest—home to endemic and endangered species, including the Mariana eight-spot butterfly. Aguon has been a lead litigator in appeals rising all the way to the U.S. Supreme Court. Rejecting fatalism, he endorses peaceful resistance. Two commencement speeches, poems, a eulogy and an interview round out the varied and heartfelt collection.

Local Resistance: On Gallows Down by Nicola Chester

It’s mostly by accident that we came to live in Newbury: five years ago, when a previous landlord served us notice, we viewed a couple of rental houses in the area to compare with what was available in Reading and discovered that our money got us more that little bit further out from London. We’ve come to love this part of West Berkshire and the community we’ve found. It may not be flashy or particularly famous, but it has natural wonders worth celebrating and a rich history of rebellion that Nicola Chester plumbs in On Gallows Down. A hymn-like memoir of place as much as of one person’s life, her book posits that the quiet moments of connection with nature and the rights of ordinary people are worth fighting for.

So many layers of history mingle here: from the English Civil War onward, Newbury has been a locus of resistance for centuries. Nicola* has personal memories of the long-running women’s peace camps at Greenham Common, once a U.S. military base and cruise missile storage site – to go with the Atomic Weapons Establishment down the road at Aldermaston. As a teenager and young woman, she took part in symbolic protests against the Twyford Down and Newbury Bypass road-building projects, which went ahead and destroyed much sensitive habitat and many thousands of trees. Today, through local and national newspaper and magazine columns on wildlife, and through her winsome nagging of the managers of the Estate she lives on, she bears witness to damaging countryside management and points to a better way.

While there is a loose chronological through line, the book is principally arranged by theme, with experiences linked back to historical or literary precedents. An account of John Clare and the history of enclosure undergirds her feeling of the precarity of rural working-class life: as an Estate tenant, she knows she doesn’t own anything, has no real say in how things are done, and couldn’t afford to move elsewhere. Nicola is a school librarian and has always turned to books and writing to understand the world. I particularly loved Chapter 6, about how she grounds herself via the literature of this area: Kenneth Grahame’s The Wind in the Willows, Adam Thorpe’s Ulverton, and especially Richard Adams’s Watership Down.

Whatever life throws at her – her husband being called up to fight in Iraq, struggling to make ends meet with small children, a miscarriage, her father’s unexpected death – nature is her solace. She describes places and creatures with a rare intimacy borne out of deep knowledge. To research a book on otters for the RSPB, she seeks out every bridge over every stream. She goes out “lamping” with the local gamekeeper after dark and garners priceless nighttime sightings. Passing on her passion to her children, she gets them excited about badger watching, fossil collecting, and curating shelves of natural history treasures like skulls and feathers. She also serves as a voluntary wildlife advocate on her Estate. For every victory, like the re-establishment of the red kite population in Berkshire and regained public access to Greenham Common, there are multiple setbacks, but she continues to be a hopeful activist, her lyrical writing a means of defiance.

We are writing for our very lives and for those wild lives we share this one, lonely planet with. Writing was also a way to channel the wildness; to investigate and interpret it, to give it a voice and defend it. But it was also a connection between home and action; a plank bridge between a domestic and wild sense. A way both to home and resist.

You know that moment when you’re reading a book and spot a place you’ve been or a landmark you know well, and give a little cheer? Well, every site in this book was familiar to me from our daily lives and countryside wanderings – what a treat! As I was reading, I kept thinking how lucky we are to have such an accomplished nature writer to commemorate the uniqueness of this area. Even though I was born thousands of miles away and have moved more than a dozen times since I settled in England in 2007, I feel the same sense of belonging that Nicola attests to. She explicitly addresses this question of where we ‘come from’ versus where we fit in, and concludes that nature is always the key. There is no exclusion here. “Anyone could make a place their home by engaging with its nature.”


*I normally refer to the author by surname in a book review, but I’m friendly with Nicola from Twitter and have met her several times (and she’s one of the loveliest people you’ll ever meet), so somehow can’t bring myself to be that detached!

 

On Gallows Down was released by Chelsea Green Publishing on October 7th. My thanks to the author and publisher for arranging a proof copy for review.

 

My husband and I attended the book launch event for On Gallows Down in Hungerford on Saturday evening. Nicola was introduced by Hungerford Bookshop owner Emma Milne-White and interviewed by Claire Fuller, whose Women’s Prize-shortlisted novel Unsettled Ground is set in a fictional version of the village where Nicola lives.

Nicola Chester and Claire Fuller. Photo by Chris Foster.

Nicola dated the book’s genesis to the moment when, 25 years ago, she queued up to talk to a TV news reporter about Newbury Bypass and froze. She went home and cried, and realized she’d have to write her feelings down instead. Words generally come to her at the time of a sighting, as she thinks about how she would tell someone how amazing it was.

Her memories are tied up with seasons and language, especially poetry, she said, and she has recently tried her hand at poetry herself. Asked about her favourite season, she chose two, the in-between seasons – spring for its abundance and autumn for its nostalgia and distinctive smells like tar spot fungus on sycamore leaves and ivy flowers.

 

A bonus related read:

Anarchipelago by Jay Griffiths (2007)

This limited edition 57-page pamphlet from Glastonbury-based Wooden Books caught my eye from the library’s backroom rolling stacks. Griffiths wrote her impish story of Newbury Bypass resistance in response to her time among the protesters’ encampments and treehouses. Young Roddy finds a purpose for his rebellious attitude wider than his “McTypical McSuburb” by joining other oddballs in solidarity against aggressive policemen and detectives.

There are echoes of Ali Smith in the wordplay and rendering of accents.

“When I think of the road, I think of more and more monoculture of more and more suburbia. What I do, I do in defiance of the Louis Queasy Chintzy, the sickly stale air of suburban car culture. I want the fresh air of nature, the lifefull wind of the French revolution.”

In a nice spot of Book Serendipity, both this and On Gallows Down recount the moment when nature ‘fought back’ as a tree fell on a police cherry-picker. Plus Roddy is kin to the tree-sitting protesters in The Overstory by Richard Powers as well as another big novel I’m reading now, Damnation Spring by Ash Davidson.