I didn’t manage a traditional classic this month: I stalled on Cider with Rosie and gave up on Evelyn Waugh’s A Handful of Dust after just 16 pages. Instead, I’m highlighting three books from Fiction Advocate’s new series about re-reading modern classics, “…Afterwords.” Their tagline is “Essential Readings of the New Canon,” and the concept is to have “acclaimed writers investigate the contemporary classics.”
As Italo Calvino notes in his invaluable essay “Why Read the Classics?”, “The classics are those books about which you usually hear people saying: ‘I’m rereading…’, never ‘I’m reading…’.” Harold Bloom agrees in The Western Canon: “One ancient test for the canonical remains fiercely valid: unless it demands rereading, the work does not qualify.” But readers will also encounter books that strike such a chord with them that they become personal classics. Calvino exhorts readers that “during unenforced reading … you will come across the book which will become ‘your’ book…‘Your’ classic is a book to which you cannot remain indifferent, and which helps you define yourself in relation or even in opposition to it.”
For the Afterwords series, the three writers below have each chosen a modern classic that they can’t stop reading for all it has to say to their own situation and on humanity in general.
I Meant to Kill Ye: Cormac McCarthy’s Blood Meridian by Stephanie Reents (2018)
Blood Meridian must be one of the two or three bleakest books I’ve ever read. I was led to it by Bloom, who speaks about it as a, if not the, Great American Novel. It’s over 10 years since I’ve read it now, but I still remember some of the specific incidences of violence, like skewering babies and sodomizing corpses on a battlefield, as well as the overall feeling of nihilism: there’s no reason for the evil promulgated by characters like the Judge; it is simply a reality – perhaps the human condition.
Reents, who teaches English at the College of the Holy Cross, returns to Blood Meridian, a novel she has re-read compulsively over the years, to ask why it continues to have such a hold over her. Its third-person perspective is so distant that we never understand characters’ motivations or glimpse their inner lives, she notes; everyone seems like a pawn in a fated course. She usually shies away from violence and long descriptive passages; she has an uneasy relationship with the West, having moved away from Idaho to live on the East coast. So why should this detached, brutal Western based on the Glanton Gang’s Mexico/Texas killing spree have so captivated her? “Often, we most admire the books that we could never produce, the writing styles or intellects so different from our own that we aren’t even tempted to try imitating them,” she offers as explanation. “It’s a pure kind of admiration, unsullied by envy.” (I feel that way about Faulkner and Steinbeck.)
As part of her quest, Reents recreated some of the Gang’s desert route and traveled to the Texas State University library near Austin to look at McCarthy’s early drafts, notes and correspondence. She was intrigued to learn that the Kid was a more conventional POV character to start with, and McCarthy initially included more foreshadowing. By cutting all of it, he made it so that the book’s extreme violence comes out of nowhere. Reents also explores the historical basis for the story via General Samuel Chamberlain’s dubious memoir. Pondering the volatility of the human heart as she drives along the Mexican border, she ends on the nicely timely note of a threatened Trump-built wall. I doubt I could stomach reading Blood Meridian again (though I’ve read another two McCarthy novels since), but I enjoyed revisiting it with Reents as she finds herself “re-bewildered by its beauty and horror.”
A Little in Love with Everyone: Alison Bechdel’s Fun Home by Genevieve Hudson (2018)
Alison Bechdel is one of Hudson’s queer heroes (along with James Baldwin, Tracy Chapman, and seven others), portrayed opposite the first page of each chapter in black and white drawings by Pace Taylor – the sort of people who gave her the courage to accept her lesbian identity after a conventional Alabama upbringing.
As portrayed in her landmark graphic memoir Fun Home, Bechdel was in college and finally coming to terms with her sexuality at the same time that she learned that her father was gay and her parents were about to divorce. Her father died in an accident just a few months later and, though he had many affairs, had never managed to live out his homosexuality openly. As Bechdel’s mother scoffed, “Your father tell the truth? Please!” By contrast, Hudson appreciates Bechdel so much because of her hard-won honesty: “In her work, Bechdel does the opposite of lying. She excavates the real. She dredges up the stuff of her life, embarrassing parts and all.”
Hudson looks at how people craft their own coming-out narratives, the importance of which cannot be overemphasized, in her experience. “Coming out was a tangible thing with tangible effects. For every friend who left my life, a new person arrived—usually someone with broader horizons, exciting stories, and a deviance that seemed sweet and sexy and sincere. After I came out, roaming the streets of Charleston in fat sunglasses and thin dresses, a group of beautiful lesbians appeared out of nowhere. … Everyone was a little in love with everyone.”
A Cool Customer: Joan Didion’s The Year of Magical Thinking by Jacob Bacharach (2018)
I made the mistake of not taking any notes on, or even marking out any favorite passages in, this, so all I can tell you is that for me it was the most powerful of the three I’ve tried from the series. The author re-examines Didion’s work in the light of his own encounter with loss – his brother’s death from a drug overdose – and ponders why it has become such a watershed in bereavement literature. Didion really is the patron saint of grief thanks to her two memoirs, Magical Thinking and Blue Nights – after she was widowed she also lost her only daughter – even though she writes with a sort of intellectual detachment; you have to intuit the emotion between the lines. Bacharach smartly weaves his family story with a literate discussion of Didion’s narratives and cultural position to make a snappy and inviting book you could easily read in one sitting.
Indeed, all of the Afterwords books are 120–160-page, small-format paperbacks that would handily slip into a pocket or purse.
My thanks to the publisher for the free copies for review.
The other titles in the series are An Oasis of Horror in a Desert of Boredom by Jonathan Russell Clark (on 2666 by Roberto Bolaño), New Uses for Failure by Adam Colman (on 10:04 by Ben Lerner, and Bizarro Worlds by Stacie Williams (on The Fortress of Solitude by Jonathan Lethem).
Next month’s plan: The Leopard by Giuseppe di Lampedusa will be my classic to get me in the mood for traveling to Italy for the first week of July.
Here’s a quick look back at a baker’s dozen of 2018 releases that have stood out most for me so far. I’ve linked to books that I’ve already reviewed in full on the blog or elsewhere.
The Only Story by Julian Barnes: A familiar story: a May–December romance fizzles out. A sad story: an idealistic young man who swears he’ll never be old and boring has to face that this romance isn’t all he wanted it to be. A love story nonetheless. Paul met 48-year-old Susan, a married mother of two, at the local tennis club when he was 19. The narrative is partly the older Paul’s way of salvaging what happy memories he can, but also partly an extended self-defense. Barnes takes what could have been a dreary and repetitive story line and makes it an exquisitely plangent progression: first-person into second-person into third-person. The picture of romantic youth shading into cynical but still hopeful middle age really resonates, as do the themes of unconventionality, memory, addiction and pity.
The Immortalists by Chloe Benjamin: Summer 1969: four young siblings escape a sweltering New York City morning by visiting a fortune teller who can tell you the day you’ll die. In the decades that follow, they have to decide what to do with this advance knowledge: will it spur them to live courageous lives, or drive them to desperation? This compelling family story lives up to the hype. Imagine the fun Benjamin had researching four distinct worlds: Daniel, a military doctor, examines Iraq War recruits; Klara becomes a magician in Las Vegas; Varya researches aging via primate studies; and Simon is a dancer in San Francisco. The settings, time periods, and career paths are so diverse that you get four novels’ worth of interesting background.
Florida by Lauren Groff: Two major, connected threads in this superb story collection are ambivalence about Florida, and ambivalence about motherhood. There’s an oppressive atmosphere throughout, with environmental catastrophe an underlying threat. Set-ups vary in scope from almost the whole span of a life to one scene. A dearth of named characters emphasizes just how universal the scenarios and emotions are. Groff’s style is like a cross between Karen Russell’s Swamplandia! and Cormac McCarthy’s The Road, and her unexpected turns of phrase jump off the page. A favorite was “Above and Below,” in which a woman slips into homelessness. Florida feels innovative and terrifyingly relevant. Any one of its stories is a bracing read; together they form a masterpiece.
Motherhood by Sheila Heti: Should one have children? Should I have children? No matter who’s asking the questions or in what context, you’re going to get the whole gamut of replies. Heti’s unnamed heroine consults a fortune teller and psychics, tosses coins and interprets her dreams as The Decision looms. Chance, inheritance, and choice vie for pride of place in this relentless, audacious inquiry into the purpose of a woman’s life. I marked out dozens of quotes that could have been downloaded directly from my head or copied from my e-mails and journal pages. The book encapsulates nearly every thought that has gone through my mind over the last decade as I’ve faced the intractable question of whether to have children. Heti has captured brilliantly what it’s like to be in this situation in this moment in time.
Orchid & the Wasp by Caoilinn Hughes: The action spans about nine years: a politically turbulent decade that opens with the Iraq War protests and closes with the Occupy movement in New York City. Gael Foess, our lovable antiheroine, is a trickster. She’s learned well her banker father’s lesson that money and skills don’t get distributed fairly in this life, so she’s going to do what she can to ensure that her loved ones succeed. Art, music, religion and health are major interlocking themes. The author is wonderfully adept at voices, and the book’s frenetic pace is well matched by the virtuosic use of language – wordplay, neologisms, and metaphors drawn from the arts and nature. Hughes is an exciting writer who has rightfully attracted a lot of buzz for her debut.
The Italian Teacher by Tom Rachman: Charles “Pinch” Bavinsky is just an Italian teacher, though as a boy in Rome in the 1950s–60s he believed he would follow in the footsteps of his sculptor mother and his moderately famous father, Bear Bavinsky, who paints close-ups of body parts. We follow Pinch through the rest of his life, a sad one of estrangement, loss and misunderstandings – but ultimately there’s a sly triumph in store for the boy who was told that he’d never make it as an artist. Rachman jets between lots of different places – Rome, New York City, Toronto, rural France, London – and ropes in quirky characters in the search for an identity and a place to belong. This is a rewarding story about the desperation to please, or perhaps exceed, one’s parents, and the legacy of artists in a fickle market.
The Line Becomes a River by Francisco Cantú: Francisco Cantú was a U.S. Border Patrol agent for four years in Arizona and Texas. Impressionistic rather than journalistic, his book is a loosely thematic scrapbook. He inserts snippets of U.S.–Mexico history, including the establishment of the border, and quotes from other primary and secondary texts. He also adds in fragments of his family’s history: His ancestors left Mexico during the Mexican Revolution of the 1910s, but there’s no doubt his Latino name and features made him a friendly face for illegal immigrants. The final third of the book makes things personal when his friend is detained in Mexico. Giving faces to an abstract struggle, this work passionately argues that people should not be divided by walls but united in common humanity.
The Unmapped Mind by Christian Donlan: Some of the best medical writing from a layman’s perspective I’ve ever read. Donlan, a Brighton-area video games journalist, was diagnosed with (relapsing, remitting) multiple sclerosis in 2014. “I think sometimes that early MS is a sort of tasting menu of neurological disease,” Donlan wryly offers. He approaches his disease with good humor and curiosity, using metaphors of maps to depict himself as an explorer into uncharted territory. The accounts of going in for an MRI and a round of chemotherapy are excellent. Short interludes also give snippets from the history of MS and the science of neurology in general. What’s especially nice is how he sets up parallels with his daughter’s early years. My frontrunner for next year’s Wellcome Book Prize so far.
Free Woman by Lara Feigel: Doris Lessing lived by ideals of free love and Communism, but it came at the price of abandoning her children. Lara Feigel could identify with Lessing in some ways, and as she entered a rocky time in her mid-thirties – a miscarriage followed by IVF, which was a strain on her marriage; the death of a close friend; ongoing worry over how motherhood might affect her academic career – she set out to find what Lessing could teach her about how to be free. A familiarity with the works of Doris Lessing is not a prerequisite to enjoying this richly satisfying hybrid of biography, literary criticism and memoir. The Golden Notebook is about the ways in which women compartmentalize their lives and the struggle to bring various strands into harmony; that’s what Free Woman is all about as well.
Implosion by Elizabeth W. Garber: The author grew up in a glass house designed by her father, Modernist architect Woodie Garber, outside Cincinnati in the 1960s to 70s. This and Woodie’s other most notable design, Sander Hall, a controversial tower-style dorm at the University of Cincinnati that was later destroyed in a controlled explosion, serve as powerful metaphors for her dysfunctional family life. Woodie is such a fascinating, flawed figure. Garber endured sexual and psychological abuse yet likens him to Odysseus, the tragic hero of his own life. She connected with him over Le Corbusier’s designs, but it was impossible for a man born in the 1910s to understand his daughter’s generation. This definitely is not a boring tome just for architecture buffs. It’s a masterful memoir for everyone.
Skybound by Rebecca Loncraine: Each year seems to bring one exquisite posthumous memoir about facing death with dignity. For Rebecca Loncraine, after treatment for breast cancer in her early thirties, taking flying lessons in an unpowered glider was her way of rediscovering joy and experiencing freedom by facing her fears in the sky. She discovered a particular love for flying alongside birds: red kites in Wales, and vultures in Nepal. The most remarkable passages of the book are the exhilarating descriptions of being thousands of feet up in the air and the reflections on why humans are drawn to flight and what it does for our bodies and spirits. Loncraine had virtually finished this manuscript when her cancer returned; she underwent another 14 grueling months of treatment before her death in September 2016.
Bookworm by Lucy Mangan: Mangan takes us along on a nostalgic chronological tour through the books she loved most as a child and adolescent. No matter how much or how little of your early reading overlaps with hers, you’ll appreciate her picture of the intensity of children’s relationship with books – they can completely shut out the world and devour their favorite stories over and over, almost living inside them, they love and believe in them so much – and her tongue-in-cheek responses to them upon rereading them decades later. There are so many witty lines that it doesn’t really matter whether you give a fig about the particular titles she discusses or not. A delightful paean to the joys of being a lifelong reader; recommended to bibliophiles and parents trying to make bookworms out of their children.
Educated by Tara Westover: This is one of the most powerful and well-written memoirs I’ve ever read. It tells of a young woman’s off-grid upbringing in Idaho and the hard work that took her from almost complete ignorance to a Cambridge PhD. Westover’s is an incredible story about testing the limits of perseverance and sanity. Her father may have been a survivalist, but her psychic survival is the most impressive outcome here. What takes this astonishing life story to the next level, making it a classic to sit alongside memoirs by Alexandra Fuller, Mary Karr and Jeannette Walls, is the writing. Westover writes with calm authority, channeling the style of the scriptures and history books that were formative in her upbringing and education.
What are some of the best books you’ve read so far this year?
What 2018 releases do I need to catch up on right away?
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.
I discovered two opposing approaches to life and the self in a chapter on Lucian Freud in Keeping an Eye Open: Essays on Art by Julian Barnes. (For increased readability I’ve divided the following passage into short paragraphs and added my own emphasis.)
In one version of the philosophy of the self, we all operate at some point on a line between the twin poles of episodicism and narrativism. The distinction is existential, not moral.
Episodicists feel and see little connection between the different, unfolding parts of their life, have a more fragmentary sense of self, and tend not to believe in the concept of free will.
Narrativists feel and see constant connectivity, an enduring self, and acknowledge free will as the instrument that forges their self and their connectedness.
Narrativists feel responsibility for their actions and guilt over their failures; episodicists think that one thing happens and then another thing happens.
Freud is Barnes’s example of a typical episodicist: someone who sees life as a series of random events. I’ve always been the opposite. Maybe it’s because I read so many novels, memoirs and biographies, but I like to think of life as having a shape and a meaning, of one thing leading to another or prefiguring something else and so on.
However, when I look back, so many aspects of my recent life – a Master’s degree that never led to related work, six years of working at entry level in libraries without being able to advance, and living in 10 different places over the past 10 years – seem meaningless. I didn’t become an academic or a librarian, and my husband’s and my (usually) enforced nomadism was at odds with my desire to feel I was settled somewhere and truly belonged. It all looks like false starts, missteps and failures.
I encountered a Cormac McCarthy quote some years back (but now can’t find it again for the life of me), something to the effect of: we tell ourselves that life is a coherent story so as to trick ourselves into believing it means something. That’s overly depressing and nihilistic, I think (well, it is McCarthy!), as the urge to make a meaningful story out of life is surely a fundamentally human one. But would I be better off thinking of life as random?
Another quote that really challenges me is this one from Eckhart Tolle: “When you become comfortable with uncertainty, infinite possibilities open up in your life.” Uncertainty feels threatening to me. I like to know where things are going and why. Yet if I could just turn my thinking around and welcome all that randomness could offer, would life feel more open-ended and exciting?
Are you a “narrativist” or an “episodicist”?
You can never get a cup of tea large enough or a book long enough to suit me.
~ C. S. Lewis
Here’s to doorstoppers! Books of 500 pages or more [the page count is in brackets for each of the major books listed below] can keep you occupied for entire weeks of a summer – or for just a few days if they’re gripping enough. There’s something delicious about getting wrapped up in an epic story and having no idea where the plot will take you. Doorstoppers are the perfect vacation companions, for instance. I have particularly fond memories of getting lost in Jonathan Strange and Mr. Norrell by Susanna Clarke  on a week’s boating holiday in Norfolk with my in-laws, and of devouring The Crimson Petal and the White by Michel Faber  on a long, queasy ferry ride to France.
I have an MA in Victorian Literature, so I was used to picking up novels that ranged between 600 and 900 pages. Of course, one could argue that the Victorians were wordier than necessary due to weekly deadlines, the space requirements of serialized stories, and the popularity of subsequent “triple-decker” three-volume publication. Still, I think Charles Dickens’s works, certainly, stand the test of time. His David Copperfield [~900] is still my favorite book. I adore his sprawling stories crammed full of major and minor characters. Especially in a book like David Copperfield that spans decades of a character’s life, the sheer length allows you time to get to know the protagonist intimately and feel all his or her struggles and triumphs as if they were your own.
I felt the same about A Little Life by Hanya Yanagihara , which I recently reviewed for Shiny New Books. Jude St. Francis is a somewhat Dickensian character anyway, for his orphan origins at least, and even though the novel is told in the third person, it is as close a character study as you will find in contemporary literature. I distinctly remember two moments in my reading, one around page 300 and one at 500, when I looked up and thought, “where in the world will this go?!” Even as I approached the end, I couldn’t imagine how Yanagihara would leave things. That, I think, is one mark of a truly masterful storyteller.
Speaking of Dickensian novels, in recent years I’ve read two Victorian pastiches that have an authentically Victorian page count, too: The Luminaries by Eleanor Catton  and Death and Mr. Pickwick by Stephen Jarvis . The Luminaries, which won the 2013 Booker Prize, has an intricate structure (based on astrological charts) that involves looping back through the same events – making it at least 200 pages too long.
It was somewhat disappointing to read Jarvis’s debut novel in electronic format; without the physical signs of progress – a bookmark advancing through a huge text block – it’s more difficult to feel a sense of achievement. Once again one might argue that the book’s digressive nature makes it longer than necessary. But with such an accomplished debut that addresses pretty much everything ever written or thought about The Pickwick Papers, who could quibble?
John Irving’s novels are Dickensian in their scope as well as their delight in characters’ eccentricities, but fully modern in terms of themes – and sexual explicitness. Along with Dickens, he’s a mutual favorite author for my husband and me, and his A Prayer for Owen Meany  numbers among our collective favorite novels. Most representative of his style are The World According to Garp and The Cider House Rules.
Here are a handful of other long novels I’ve read and reviewed within the last few years (the rating is below each description):
All the Light We Cannot See by Anthony Doerr  – The 2015 Pulitzer Prize winner; set in France and Germany during World War II.
In the Light of What We Know by Zia Haider Rahman  – Digressive intellectualizing about race, class and war as they pertain to British immigrants.
The Son by Philipp Meyer  – An old-fashioned Western with hints of Cormac McCarthy.
The Art of Fielding by Chad Harbach  – Baseball is a window onto modern life in this debut novel about homosocial relationships at a small liberal arts college.
“A Discovery of Witches” fantasy trilogy by Deborah Harkness: A Discovery of Witches , Shadow of Night , and The Book of Life  – Thinking girl’s vampire novels, with medieval history and Oxford libraries thrown in.
And here’s the next set of doorstoppers on the docket:
Of Human Bondage by W. Somerset Maugham  – A Dickensian bildungsroman about a boy with a clubfoot who pursues art, medicine and love.
The Goldfinch by Donna Tartt  – I have little idea of what this is actually about. A boy named Theo, art, loss, drugs and 9/11? Or just call it life in general. I’ve read Tartt’s other two books and was enough of a fan to snatch up a secondhand paperback for £1.
A Brief History of Seven Killings by Marlon James  (as with A Little Life, the adjective in the title surely must be tongue-in-cheek!) – The starting point is an assassination attempt on Bob Marley in the late 1970s, but this is a decades-sweeping look at Jamaican history. I won a copy in a Goodreads giveaway.
A Suitable Boy by Vikram Seth [1,474!] – A sprawling Indian family saga. Apparently he’s at work on a sequel entitled A Suitable Girl.
This Thing of Darkness by Harry Thompson  – A novel about Charles Darwin and his relationship with Robert FitzRoy, captain of the Beagle.
The Last Chronicle of Barset by Anthony Trollope  – As the title suggests, this is the final novel in Trollope’s six-book “Chronicles of Barsetshire” series. Alas, reading this one requires reading the five previous books, so this is more like a 5,000-page commitment…
Now, a confession: sometimes I avoid long books because they just seem like too much work. It’s sad but true that a Dickens novel takes me infinitely longer to read than a modern novel of similar length. The prose is simply more demanding, there’s no question about it. So if I’m faced with a choice between one 800-page novel that I know could take me months of off-and-on reading and three or four 200–300-page contemporary novels, I’ll opt for the latter every time. Part of this also has to do with meeting my reading goals for the year: when you’re aiming for 250 titles, it makes more sense to read a bunch of short books than a few long ones. I need to get better about balancing quality and quantity.
How do you feel about long books? Do you seek them out or shy away? Comments welcome!