Tag Archives: dystopian

McKitterick Prize Shortlist (and Other Society of Authors Awards)

As I announced back in November, I was one of the judges for the 2022 McKitterick Prize. This is one of several prizes administered by the Society of Authors, the UK trade union for writers, which awards various grants and prizes.

The McKitterick Prize has, since 1990, been awarded to a debut novelist aged 40 or over. It’s unique in that it considers unpublished manuscripts as well as published novels – Tom McKitterick, who endowed the Prize, was a former editor of Political Quarterly and had an unpublished novel at the time of his death.

My particular role in the process was helping to assess the unpublished manuscripts and whittling them down to a longlist, which then joined the traditionally published novels for overall judging. I can’t say too much about this process or the particular narratives that I read due to the judges’ nondisclosure agreement, but I’ll make a few general observations.

Almost all of the entries were capably written and would have done fine as self-published novels, but I was looking for a touch of greatness – something that could compete, as is, with published work. For the most part, it was clear which manuscripts were at a different level. In terms of serendipitous moments, I noted multiple “meet the parents” scenes and mentions of moss or witches. Switching between 2–4 time periods was a recurring feature. There were lots of thrillers and dystopian setups, too.

The shortlist was announced this morning. None of the manuscripts made it through, but I’m delighted to see Under the Blue on there. I’ve heard a lot about the Taddeo and Yoder, both of which seem to be divisive. The Mohammed was already on my radar, I’m interested in the Bennett, and the Annand is new to me but I’ll investigate further. Judge Anietie Isong says, “These are deeply engaging works that swell with vitality.”

 

I was also interested to note the shortlists for the

  • Betty Trask Award for a first novel by a writer under 35: it overlaps with the latest Sunday Times Young Writer of the Year Award shortlist on two authors, Nelson and Nolan. I’ve also read the Brown. But I’m rooting for Will McPhail’s In, the first graphic novel to be shortlisted for an SoA award.

  • Gordon Bowker Volcano Prize, new this year, for a novel focusing on the experience of travel away from home (in memory of Malcolm Lowry and endowed by Gordon Bowker, his biographer): I’ve read Asylum Road and I think I have Diving for Pearls from NetGalley. I’ve read a nonfiction work by McWatt and would be interested in trying her fiction.

  • Paul Torday Memorial Prize, awarded to a first novel by a writer over 60: I’ve only heard of one nominee, The Day I Fell Off My Island by Yvonne Bailey-Smith – that’s because she’s Zadie Smith’s mum.

Winners and runners-up will be announced at the SoA Awards ceremony, to be held at Southwark Cathedral on June 1st – I’ll be watching the livestream.

 

See any nominees you’ve read? Who would you like to see win?

Review Catch-Up: Capildeo, Castillo, Nagamatsu & Wedlich

A second catch-up for April. Today I have a sprightly poetry collection about history, language and nature; a linked short story collection that imagines funerary rituals and human meaning in a post-pandemic future; and a wide-ranging popular science book about the diverse connotations and practical uses of slime. As a bonus, I have a preview essay from a forthcoming collection about how reading promotes empathy and social justice.

 

Like a Tree, Walking by Vahni Capildeo (2021)

Capildeo is a nonbinary Trinidadian Scottish poet and the current University of York writer in residence. Their fourth collection is richly studded with imagery of the natural world, especially birds and trees. “In Praise of Birds” makes a gorgeous start:

“In praise of high-contrast birds, purple bougainvillea thicketing the golden oriole. … In praise of grackles quarrelling on the lawn. / In praise of unbeautiful birds abounding in Old Norse, language of scavenging ravens, thought and memory, a treacherous duo”

and finds a late echo in “In Praise of Trees”: “If I could have translated piano practice into botany, the lichen is that Mozart phrase my left hand trialled endlessly.”

The title section (named after a moment from the book of Mark) draws on several numbered series – “Walk #2,” “Nocturne #1,” “Lullaby 4,” and so on – that appeared in a pamphlet they published last year. These are not uncomplicated idylls, though. Walks might involve dull scenery and asthma-inducing dust, as well as danger: “If nobody has abducted you, I’ll double back to meet you. … Before raper-man corner and the gingerbread house.” Lullabies wish for good sleep despite lawnmowers and a neighbour shooting his guns. There’s more bold defiance of expectations in phrases like “This is the circus for dead horses only”.

Language is a key theme, with translations from the French of Eugène Ionesco, and of Pierre de Ronsard into Trini patois. There are also dual-language erasure poems after Dame Julian of Norwich (Middle English) and Simone Weil (French). Much of the work is based on engagement with literature, or was written in collaboration with performers.

“Death is a thief in a stationery shop. He strolls out. The shopkeeper, a poor man, runs after, shouting. – I saw you! Give that back! – Give back what? Death says, strolling out. Hermes is a tram attendant who holds your coffee, helping you find the coin you dropped; it rolls underfoot.” (from “Odyssey Response”)

“Windrush Reflections” impresses for its research into the situation of Caribbean immigrants to Britain. It’s one of a number of long, multipart pieces, some of them prose poems. The verse relies mostly on alliteration and anaphora for its sonic qualities. Along with history, there is reflection on current events, as in “Plague Poems.” Experiences of casual racism fuel one of my favourite passages:

“the doorbell was ringing / the downstairs american oxford neighbours / wanted to check / by chatting on the intercom / if i was doing terrorism / i was doing transcriptions” (from “Violent Triage”)

Honorifics by Cynthia Miller, which I reviewed last week, had more personal resonance for me, but these are both powerful collections – alive to the present moment and revelling in language and in flora and fauna. However, only Capildeo progressed from the Jhalak Prize longlist onto the shortlist, which was announced yesterday.

With thanks to Carcanet Press for the free e-copy for review.

 

How High We Go in the Dark by Sequoia Nagamatsu (2022)

“Things are bad in every generation. But we still have to live our life.”

This linked short story collection was one of my most anticipated books of the year. Like two of its fellow entries on that list, Sea of Tranquility by Emily St. John Mandel and To Paradise by Hanya Yanagihara, it’s just the right blend of literary fiction and science fiction – an Octavia E. Butler level of the latter that I can handle. Opening in 2031 and stretching another 70 years into the future, it imagines how a pandemic reshapes the world and how communication and connection might continue after death. In the first story, Cliff is on the ground at the start of the Arctic plague, which emerges from a thawing Siberia (the same setup as in Under the Blue!), where his late daughter, Clara, had been part of a research group that discovered a 30,000-year-old Neanderthal girl they named Annie.

The virus is highly transmissible and deadly, and later found to mostly affect children. In the following 13 stories (most about Asian Americans in California, plus a few set in Japan), the plague is a fact of life but has also prompted a new relationship to death – a major thread running through is the funerary rites that have arisen, everything from elegy hotels to “resomation.” In the stand-out story, the George Saunders-esque “City of Laughter,” Skip works at a euthanasia theme park whose roller coasters render ill children unconscious before stopping their hearts. He’s proud of his work, but can’t approach it objectively after he becomes emotionally involved with Dorrie and her son Fitch, who arrives in a bubble.

All but one of these stories are in the first person, so they feel like intimate testimonies of how a pandemic transforms existence. Almost all of the characters have experienced a bereavement, or are sick themselves. Relatives or acquaintances become protagonists in later stories. For instance, in “Pig Son,” Dorrie’s ex, David, is a scientist growing organs for transplantation. Bereavement coordinator Dennis and his doctor brother Bryan narrate #5 and #8, respectively. Six years on, Cliff’s wife Miki takes their granddaughter on a space mission. My other two favourites were “Through the Garden of Memory,” in which patients on a plague ward build a human pyramid and plot a sacrifice, and “Songs of Your Decay,” about a researcher at a forensic body farm who bonds with her one live donor over rock music.

Some stories are weaker or less original than others, but this is one case where the whole is definitely greater than the sum of its parts. The focus on illness and death, but also on the love that survives, made this a winner for me. I’d be especially likely to recommend it to fans of Kazuo Ishiguro and Karen Russell.

With thanks to Bloomsbury for the free copy for review.

 

Slime: A Natural History by Susanne Wedlich (2021)

[Translated from the German by Ayça Türkoğlu]

This is just the sort of wide-ranging popular science book that draws me in. Like Entangled Life by Merlin Sheldrake, a work I’ve had many opportunities to recommend even to those who don’t normally pick up nonfiction, it incorporates many weird and wonderful facts about life forms we tend to overlook. Wedlich, a freelance science journalist in Germany, starts off at the Hunterian Museum in Glasgow, where she seeks a sample of the “primordial slime” collected by the HMS Challenger in 1876. “It seems to be an unwritten rule of horror: slime sells!” she remarks – from H. P. Lovecraft to Ghostbusters, it has provoked disgust. Jellyfish, snails, frogs and carnivorous plants – you’re in for a sticky tour of the natural world.

The technical blanket term for slimy substances is “hydrogels,” which are 99% water and held together by polymers. Biological examples have been inspiring new technologies, like friction reducers (e.g. in fire hoses) modelled on fish mucus, novel adhesives to repair organs and seal wounds, and glue traps to remove microplastics. Looking to nature to aid our lives is nothing new, of course: Wedlich records that slugs were once used to lubricate cart wheels.

The book branches off in a lot of directions. You’ll hear about writers who were spellbound or terrified by marine life (Patricia Highsmith kept snails, while Jean-Paul Sartre was freaked out by sea creatures), the Victorian fascination with underwater life, the importance of the microbiome and the serious medical consequences of its dysfunction, and animals such as amphibians that live between land and water. At times it felt like the narrative jumped from one topic to another, especially between the biological and the cultural, without following a particular plan, but there are enough remarkable nuggets to hold the interest.

With thanks to Granta for the free copy for review.

  

And a bonus:

I was delighted to be sent a preview pamphlet containing the author’s note and title essay of How to Read Now by Elaine Castillo, coming from Atlantic in August. This guide to cultural criticism – how to read anything, not just a book – is alive to the biased undertones of everyday life. “Anyone who is perfectly comfortable with keeping the world just as it is now and reading it the way they’ve always read it … cannot be trusted”. Castillo writes that it is not the job of people of colour to enlighten white people (especially not through “the gooey heart-porn of the ethnographic” – war, genocide, tragedy, etc.); “if our stories primarily serve to educate, console and productively scold a comfortable white readership, then those stories will have failed their readers”. This is bold, provocative stuff. I’m sure to learn a lot.

 

Would you be interested in reading one or more of these?

To Paradise by Hanya Yanagihara (Doorstopper of the Quarter)

When I expressed interest in Hanya Yanagihara’s To Paradise on Twitter, having loved A Little Life and tepidly admired The People in the Trees, I didn’t expect to be chosen to receive one of my most anticipated releases of the year. A proof arrived while I was in the States for Christmas. As soon as I got back, I started it – with a vision of doing little else but reading it for a few days and reviewing it early in January. Instead, I read about 30 pages and set it aside, the 700-page heft mocking me from my coffee table stack for the better part of two months. Finally, I forced myself to set a daily reading goal: first 30 pages, then 40, then 60; and on Friday I read the last 100 pages over a couple sessions in the summerhouse. That regimented approach was what it took for me to get through my first doorstopper of the year.

The novel is in three parts – discrete enough to feel like separate books – set largely in 1893, 1993, and 2093. New York City’s Washington Square, even one particular house, recurs as a setting in all three, with some references to the American West and South and with flashbacks to time in Hawaii linking Books II and III.

The overarching theme is the American project: is freedom, both individual and collective, a worthy and attainable goal? Or are the country’s schisms too deep to be overcome? Class, race, sexuality, and physical and mental illness are some of the differences that Yanagihara explores. Even when equality of treatment has been won in one time and scenario – same-sex marriage is de rigueur in her alternative version of the 1890s, where the USA is divided into several nations – there is always the threat of a taken-for-granted right being retracted.

In Book I, David Bingham, who is to inherit his grandfather’s Washington Square property, considers a family-approved arranged marriage with an older man, Charles, versus eloping with a lower-class male teacher, Edward, with whom he has fallen in love. Edward wants them to light out for California, where new opportunities await but homosexuality is outlawed. Can they live in freedom if they’re repressing an essential part of their identity? The austere, elegant tone is a pitch-perfect pastiche of Henry James or Edith Wharton. Although this section took me the longest to read, it was the one I most appreciated for its flawless evocation of the time period and a rigid class structure. As in The Underground Railroad, though, the alt-history angle wasn’t really the most memorable aspect.

In Book II, David Bingham, also known as Kawika, is a paralegal having a secret affair with Charles, a partner in his law firm. Various friends and former lovers in their circle have AIDS, but Charles’s best friend Peter is dying of cancer. Before Peter flies to Switzerland for an assisted death, Charles throws him one last dinner party. Meanwhile, David receives a long letter from his ill father recounting their descent from Indigenous nobility and his failed attempt to set up a self-sufficient farm on their inherited land in Hawaii. This strand is closest to Yanagihara’s previous novels, the gay friendship circle reminiscent of A Little Life and the primitive back-to-the-land story recalling The People in the Trees. I also thought of Mrs Dalloway – David wanted to get the flowers for the party himself – and of Three Junes.

Book III is set in a dystopian future of extreme heat, rationing and near-constant pandemics. The totalitarian state institutes ever more draconian policies, with censorship, quarantine camps and public execution of insurgents. The narrator, intellectually disabled after a childhood illness, describes the restrictions with the flat affect of the title robot from Kazuo Ishiguro’s Klara and the Sun. When a stranger offers her the chance to escape, she is forced to weigh up freedom against safety. An alternating strand, based around letters sent by a Chinese Hawaiian character, traces how things got this bad, from the 2040s onwards.

While the closing speculative vision is all too plausible, two other literary/science fiction releases I’ve read this year, Sea of Tranquillity by Emily St. John Mandel and How High We Go in the Dark by Sequoia Nagamatsu, are more powerful and direct. Book III takes up half of the text and could stand alone, but the fact that it appears as a culmination of two other narratives creates false expectations that it can’t meet. The connections between the three are incidental – abandonment by a mother, a child raised by a grandparent, an arranged marriage, isolating illness – with recurring tactics like stories within stories and epistolary sections. The most overt cohesive strategy, the repeating of names across time periods, feels gimmicky and, again, sets readers up for a letdown by promising meaning that isn’t there.

Ultimately, the message seems to be: America’s problems are inherent, and so persist despite apparent progress. It takes a lot of words to build to that somewhat obvious point. I couldn’t suppress my disappointment that none of the storylines are resolved – this does, however, mean that one can choose to believe things will turn out happily for the characters. Their yearning for a more authentic life, even in a rotten state, makes it easy to empathize with their situations. I had high regard for the self-assured cross-genre prose (my interest waning only during the elder Kawika’s improbably long letter), but felt the ambition perhaps outshone the achievement.

As I learned when reviewing a recent book about American utopian projects, Heaven Is a Place on Earth, and interviewing its author, Adrian Shirk, an imagined utopia and a projected dystopia aren’t actually so different. Here was her response to one of my questions:

At one point you say, “utopia is never far from its opposite.” Dystopian novels are as popular as ever. To what extent do you think real-life utopias and fictional dystopias have the same aims?

I think real-life utopian experiments and fictional dystopias both offer warnings about the dangers of relying too much on ideology, and not enough on living, or choosing the person over the belief. So, in that way, real utopian experiments and fictional dystopian narratives are two sides of the same coin: a dystopia is a utopia that lost sight of—or never included—understanding itself as resistance to a violent empire, and thus starts to look like a violent empire itself.

Both start by diagnosing a societal sickness. The question is how we then get to paradise.

 


Page count: 701

Book I:

Book II:

Book III:

 My overall rating:

With thanks to Picador for the proof copy for review.

Some of My Most Anticipated Releases of 2022

Ninety-nine 2022 releases have made it onto my Goodreads shelves so far. I’ve read about 10 already and will preview some of them tomorrow.

This year we can expect new fiction from Julian Barnes, Carol Birch, Jessie Burton, Jennifer Egan, Karen Joy Fowler, David Guterson, Sheila Heti, John Irving (perhaps? at last), Liza Klaussman, Benjamin Myers, Julie Otsuka, Alex Preston and Anne Tyler; a debut novel from Emilie Pine; second memoirs from Amy Liptrot and Wendy Mitchell; another wide-ranging cultural history/self-help book from Susan Cain; another medical history from Lindsey Fitzharris; a biography of the late Jan Morris; and much more. (Already I feel swamped, and this in a year when I’ve said I want to prioritize backlist reads! Ah well, it is always thus.)

I’ve limited myself here to the 20 upcoming releases I’m most excited about. The low figure is a bit of a cheat: with a few exceptions, I’ve not included books I have / have been promised. I’ll be scurrying around requesting copies of most of the others soon. The following are due out between January and August and are in (UK) release date order, within sections by genre. (U.S. details given too/instead if USA-only. Quotes are extracted from publisher blurbs on Goodreads.)

U.S. covers – included where different – rule!

N.B. Fiction is winning this year!

 

Fiction

To Paradise by Hanya Yanagihara [Jan. 11, Picador / Doubleday] You’ll see this on just about every list; her fans are legion after the wonder that was A Little Life. Another doorstopper, but this time with the epic reach to justify the length: sections are set in an alternative 1893, 1993, and 2093 – “joined in an enthralling and ingenious symphony, as recurring notes and themes deepen and enrich one another.” [Proof copy]

 

UK cover

How High We Go in the Dark by Sequoia Nagamatsu [Jan. 18, Bloomsbury / William Morrow] Amazing author name! Similar to the Yanagihara what with the century-hopping and future scenario, a feature common in 2020s literature – a throwback to Cloud Atlas? I’m also reminded of the premise of Under the Blue, one of my favourites from last year. “Once unleashed, the Arctic Plague will reshape life on Earth for generations to come.”

 

Heartstopper, Volume 5 by Alice Oseman [Feb. ?, Hodder Children’s] I devoured the first four volumes of this teen comic last year. In 2020, Oseman tweeted that the fifth and final installment was slated for February 2022, but I don’t have any more information than that. Nick will be getting ready to go off to university, so I guess we’ll see how he leaves things with Charlie and whether their relationship will survive a separation. (No cover art yet.)

 

How Strange a Season by Megan Mayhew Bergman [March 29, Scribner] I enjoyed her earlier story collection, Almost Famous Women. “Bergman portrays women who wrestle with problematic inheritances: a modern glass house on a treacherous California cliff, a water-starved ranch, an abandoned plantation on a river near Charleston … provocative prose asks what are we leaving behind for our ancestors … what price will they pay for our mistakes?”

 

A Violent Woman by Ayana Mathis [April 7, Hutchinson] Her Oprah-approved 2013 debut, The Twelve Tribes of Hattie, got a rare 5-star review from me. About “an estranged mother and her daughter. Dutchess lives in Bonaparte, Alabama, a once thriving black town now in its death throes. Lena lives in Philadelphia in the 1980s. Her involvement with the radical separatist group STEP leads to transcendence and tragedy.” (No cover art yet.)

 

there are more things by Yara Rodrigues Fowler [April 28, Fleet] I so wanted her 2019 debut novel, Stubborn Archivist, to win the Young Writer of the Year Award. I love the cover and Hamlet-sourced title, and I’m here for novels of female friendship. “In January 2016, Melissa [South London native] and Catarina [born to well-known political family in Brazil] meet for the first time, and as political turmoil unfolds … their friendship takes flight.”

 

UK cover

Sea of Tranquility by Emily St. John Mandel [April 28, Picador / April 5, Knopf] This is the other title you’ll find on everyone else’s list. That’s because The Glass Hotel, even more so than Station Eleven, was amazing. Another history-to-future-hopper: “a novel of art, time, love, and plague that takes the reader from Vancouver Island in 1912 to a dark colony on the moon three hundred years later, unfurling a story of humanity across centuries and space.” [Edelweiss download]

 

Search by Michelle Huneven [April 28, Penguin] A late addition to my list thanks to the Kirkus review. Sounds like one for readers of Katherine Heiny! “Dana Potowski is a restaurant critic and food writer … asked to join [her California Unitarian Universalist] church search committee for a new minister. Under pressure to find her next book idea, she agrees, and resolves to secretly pen a memoir, with recipes, about the experience.”

 

UK cover

Very Cold People by Sarah Manguso [April 28, Picador / Feb. 8, Hogarth] The debut novel from an author by whom I’ve read four nonfiction works. “For Ruthie, the frozen town of Waitsfield, Massachusetts, is all she has ever known. Once home to the country’s oldest and most illustrious families[,] … it is an unforgiving place awash with secrets. … Ruthie slowly learns how the town’s prim facade conceals a deeper, darker history…”

 

UK cover

True Biz by Sara Nović [May 5, Little, Brown / April 5, Random House] Her 2015 Girl at War is one of my most-admired debuts of all time, and who can resist a campus novel?! “The students at the River Valley School for the Deaf just want to hook up, pass their history final, and have doctors, politicians, and their parents stop telling them what to do with their bodies. This revelatory novel plunges readers into the halls of a residential school for the deaf.”

 

You Have a Friend in 10a: Stories by Maggie Shipstead [May 19, Transworld / May 17, Knopf] Shipstead’s Booker-shortlisted doorstopper, Great Circle, ironically, never took off for me; I’m hoping her short-form storytelling will work out better. “Diving into eclectic and vivid settings, from an Olympic village to a deathbed in Paris to a Pacific atoll, … Shipstead traverses ordinary and unusual realities with cunning, compassion, and wit.”

 

UK cover

Horse by Geraldine Brooks [June 2, Little, Brown / June 14, Viking] You guessed it, another tripartite 1800s–1900s–2000s narrative! With themes of slavery, art and general African American history. I’m not big on horses, at least not these days, but Brooks’s March and Year of Wonders are among my recent favourites. “Based on the remarkable true story of the record-breaking thoroughbred, Lexington, who became America’s greatest stud sire.”

 

UK cover

Briefly, a Delicious Life by Nell Stevens [June 23, Picador / June 21, Scribner] I’ve read her two previous autofiction-y memoirs and loved Mrs Gaskell & Me. The title, cover and Victorian setting of her debut novel beckon. “In 1473, fourteen-year-old Blanca dies in a hilltop monastery in Mallorca. Nearly four hundred years later, when George Sand, her two children, and her lover Frederic Chopin arrive in the village, Blanca is still there: a spirited, funny, righteous ghost.”

 

A Brief History of Living Forever by Jaroslav Kalfar [Aug. 4, Sceptre / Little, Brown] His Spaceman of Bohemia (2017) was terrific. “When Adela discovers she has a terminal illness, her thoughts turn to Tereza, the American-raised daughter she gave up at birth. … In NYC, Tereza is … the star researcher for two suspicious biotech moguls hellbent on developing a ‘god pill’ to extend human life indefinitely. … Narrated from the beyond by Adela.”

 

Nonfiction

The Cure for Sleep by Tanya Shadrick [Jan. 20, Weidenfeld & Nicolson] Nature memoir / self-help. “On return from near-death, Shadrick vows to stop sleepwalking through life. … Around the care of young children, she starts to play with the shape and scale of her days: to stray from the path, get lost in the woods, make bargains with strangers … she moves beyond her respectable roles as worker, wife and mother in a small town.” [Review copy]

 

The Invisible Kingdom: Reimagining Chronic Illness by Meghan O’Rourke [March 1, Riverhead] O’Rourke wrote one of the best bereavement memoirs ever. This ties in with my medical interests. “O’Rourke delivers a revelatory investigation into this elusive category of ‘invisible’ illness that encompasses autoimmune diseases, post-treatment Lyme disease syndrome, and now long COVID, synthesizing the personal and the universal.”

 

UK cover

In Love: A Memoir of Love and Loss by Amy Bloom [April 7, Granta / March 8, Random House] The true story of how Bloom accompanied her husband Brian, who had Alzheimer’s, to Dignitas in Switzerland to end his life. I’ve read quite a lot around assisted dying. “Written in Bloom’s captivating, insightful voice and with her trademark wit and candor, In Love is an unforgettable portrait of a beautiful marriage, and a boundary-defying love.”

 

Home/Land: A Memoir of Departure and Return by Rebecca Mead [April 21, Grove Press UK / Feb. 8, Knopf] I enjoyed Mead’s bibliomemoir on Middlemarch. The Anglo-American theme is perfect for me: “drawing on literature and art, recent and ancient history, and the experience of encounters with individuals, environments, and landscapes in New York City and in England, Mead artfully explores themes of identity, nationality, and inheritance.”

 

UK cover

Lost & Found: A Memoir by Kathryn Schulz [April 28, Picador / Jan. 20, Random House] I loved her 2010 book Being Wrong, and bereavement memoirs are my jam. “Eighteen months before Kathryn Schulz’s father died, she met the woman she would marry. In Lost & Found, she weaves the story of those relationships into a brilliant exploration of the role that loss and discovery play in all of our lives … an enduring account of love in all its many forms.”

 

Poetry

Inside the Storm I Want to Touch the Tremble by Carolyn Oliver [Aug. 19, Univ. of Utah Press] Carolyn used to blog at Rosemary and Reading Glasses. The poems she’s shared on social media are beautiful, and I’m proud of her for winning the Agha Shahid Ali Prize. “Inside this debut collection, girlhood’s dangers echo, transmuted, in the poet’s fears for her son. A body … is humbled by chronic illness. Stumbling toward joy across time and space, these poems hum with fear and desire, bewildering loss, and love’s lush possibilities.”

 

Themes arising: crossing three centuries; H & I titles, the word “brief”; moons and stars on covers. Mostly female authors (only two men here).

 

Do check out these other lists for more ideas!

Callum’s

Kate’s

Kirkus

Laura’s

Paul’s

Rachel’s

Plus you can seek out all the usual lists (e.g. on Lit Hub and virtually every other book or newspaper site) … if you want to be overwhelmed!

 

What catches your eye here?
What other 2022 titles do I need to know about?

My Most Memorable Backlist Reads of 2021

Like many bloggers, I’m irresistibly drawn to the new books released each year. However, I consistently find that many of my most memorable reads were published years or decades ago. These 19 selections, in alphabetical order within genre, together with my Best of 2021 posts (fiction and nonfiction), make up the top 15% of my reading for the year. Three of the below were rereads.

(The three books not pictured were read electronically or from the library.)

 

Fiction

America Is Not the Heart by Elaine Castillo: Set in the early 1990s in the Filipino immigrant neighbourhoods of the Bay Area in California, this is a complex, confident debut novel that throws you into an unfamiliar culture at the deep end. The characters shine and the dialogue feels utterly authentic in this fresh immigration story.

 

Snow Falling on Cedars by David Guterson: The mystery element held me completely gripped – readers are just as in the dark as jurors until close to the end – but this is mostly a powerful picture of the lasting effects of racism. I was instantly immersed, whether in a warm courtroom with a snowstorm swirling outside or on a troop ship entering the Pacific Theater.

 

Nothing but Blue Sky by Kathleen MacMahon: David is back on Spain’s Costa Brava, where he and his wife Mary Rose holidayed every summer for 20 years. This is a quiet novel about what goes unsaid in any marriage, and a deeply touching look at loss and what comes next. Grief, memory, fate: some of my favourite themes, elegantly treated.

 

A Feather on the Breath of God by Sigrid Nunez: From the little I know of Nunez, this seems close to autofiction, especially in terms of her parents. Identifying the self by the key relationships and obsessions of a life makes sense, and this speaks to the universals of how we cope with a troublesome past. It cemented her as one of my favourite authors.

 

Woman on the Edge of Time by Marge Piercy: An unusual and fascinating novel with hints of science fiction, but still grounded in the real world, this contrasts utopian and dystopian scenes experienced by a Latina woman who’s been confined to a mental hospital. It’s an intense cultural commentary from a writer ahead of her time on gender roles and the environment.

 

My Dark Vanessa by Kate Elizabeth Russell: Obsessed with Lolita since she was a teenager, Russell decided to tell the teenage girl’s side of the story. She uses a dual timeline to great effect, creating an utterly immersive novel – as good a first-person narrative as anything Curtis Sittenfeld has ever written, and the ultimate #MeToo story.

 

Saint Maybe by Anne Tyler: Ian Bedloe joins the puritanical Church of the Second Chance and drops out of college to help his parents raise his late brother’s three children. Anyone will be able to find themselves and their family in this story of the life chosen versus the life fallen into, and the difficult necessity of moving past regrets in the search for meaning.

 

The Amateur Marriage by Anne Tyler: Unique in her oeuvre for how it bridges historical fiction and her more typical contemporary commentary. The Antons muddle their way through a volatile marriage for decades without figuring out how to change anything for the better. There is deep compassion for their foibles and how they affect the next generation.

 

Lot by Bryan Washington: The musical equivalent might be a mixtape blasted from an open-top Corvette while touring the streets of Houston, Texas. Drug dealers, careworn immigrants, and prostitutes: Even the toughest guys have tender hearts in these 13 stories. Washington’s prose is earthy and slang-filled. The matter-of-fact phrasing made me laugh.

 

Ethan Frome by Edith Wharton: I was so impressed by this condensed tragedy and the ambiance of a harsh New England winter. It struck me even more on a reread as a flawless parable of a man imprisoned by circumstance and punished for wanting more. A perfect example of how literature can encapsulate the human condition.

 

Poetry

The Air Year by Caroline Bird: I read this with a big smile on my face, delighting in the clever and playful poems. The impermanence of relationships is a recurring theme. Dreams and miscommunication are also common elements, and lists grow increasingly absurd. I particularly liked where structure creates meaning, e.g. the mise en abyme of “Dive Bar.”

 

Nonfiction

Featherhood by Charlie Gilmour: As an aimless twentysomething, Gilmour tried to rekindle a relationship with his unreliable poet father. Meanwhile, he was raising Benzene, a magpie that fell out of its nest. He makes elegant use of connections and metaphors; he’s so good at scenes, dialogue, and emotion – a truly natural writer.

 

Spring in Washington by Louis J. Halle: From first migrant in February to last in June, the author traced the D.C. spring of 1945 mostly through the birds that he saw. More so than the specific observations of familiar places, though, I valued the philosophical outlook. For me this was an ideal combination of thoughtful prose and vicarious travel.

 

The Shadow of the Sun by Ryszard Kapuściński: This collection of essays spans decades and lots of African countries, yet feels like a cohesive narrative. Kapuściński saw many places right on the cusp of independence or in the midst of coup d’états. I appreciated how he never resorts to stereotypes or flattens differences. One of the few best travel books I’ve read.

 

Golem Girl by Riva Lehrer: Lehrer has endured dozens of surgeries for spina bifida. Her touching family memoir is delivered in short, essay-like chapters, most named after books or films. It is also a primer in Disability theory and a miniature art gallery, filled with reproductions of her paintings. This inaugural Barbellion Prize winner is not to be missed.

 

The Cost of Living by Deborah Levy: This sparse volume, the middle in an autobiographical trilogy, has Levy searching for the intellectual and physical freedom needed to reinvent her life after divorce. It is made up of conversations and memories; travels and quotations that have stuck with her. Each moment is perfectly chosen to reveal the self.

 

Conundrum by Jan Morris: Morris was a trans pioneer; this transformed my understanding of gender when I first read it in 2006. Born James, Morris knew by age four that she was really a girl. A journalism career, marriage, five children, and two decades of hormone therapy preceded sex reassignment surgery. She paints hers as a spiritual quest toward her true identity.

 

You’re Not Listening: What You’re Missing and Why It Matters by Kate Murphy: We all fail to listen properly sometimes, for various reasons. A New York Times journalist, Murphy does a lot of listening to her interview subjects.  She also talks with representatives of so-called listening careers. This is a short, interesting, and genuinely helpful self-help book.

 

Writing in the Dust: After September 11 by Rowan Williams: Williams, then Archbishop of Wales, was in New York City on 9/11, just a few blocks from the World Trade Center. In the months that followed he pondered suffering, peacemaking, and the ways of God. He cautions against labelling the Other as Evil and responding with retribution. A superb book-length essay.

 

And if I really had to limit myself to just two favourites – my very best fiction and nonfiction reads of the year – they would be Snow Falling on Cedars and The Cost of Living.


What were your best backlist reads this year?

Merry Christmas!

(I’ll be back on the 27th with Love Your Library, then I have various year-end superlatives and statistics posts going through the 31st.)

Seven Final Novellas: Crumley, Morris, Rapp Black; Hunter, Johnson, Josipovici, Otsuka (#NovNov)

We’ll be wrapping up Novellas in November and giving final statistics on Tuesday. Today, I have mini reviews of another seven novellas I’ve been working on, some of them for the whole month. I’ll start with some short nonfiction and then move on to the fiction.

 

Nonfiction:

Barn Owl by Jim Crumley (2014)

[63 pages]

I reviewed Kingfisher and Otter, two other titles from Crumley’s “Encounters in the Wild” series for the publisher Saraband, earlier in the month. Barn Owl follows the same pattern, traveling the Scottish islands in search of close encounters (with badgers and ospreys, too) but also stretching back to a childhood memory from 1950s Dundee, when there was an owl-occupied derelict farmstead a quarter-mile from his home. This is a lovely little full-circle narrative in that the book closes with “the barn owl, unlike all other night-flying owls, is the one that we can see in the dark … its inarguable beauty is layered with mystery, and …all of us have a place in our hearts and minds for mysterious beauty. I have known that to be an essential truth since I was about eight years old.” (Public library)

 

Conundrum by Jan Morris (1974)

[148 pages]

A reread of a book that transformed my understanding of gender back in 2006. Morris (d. 2020) was a trans pioneer. Her concise memoir opens “I was three or perhaps four years old when I realized that I had been born into the wrong body, and should really be a girl.” Sitting under the family piano, little James knew it, but it took many years – a journalist’s career, including the scoop of the first summiting of Mount Everest in 1953; marriage and five children; and nearly two decades of hormone therapy – before a sex reassignment surgery in Morocco in 1972 physically confirmed it. I was struck this time by Morris’s feeling of having been a spy in all-male circles and taking advantage of that privilege while she could. She speculates that her travel books arose from “incessant wandering as an outer expression of my inner journey.” The focus is more on her unchanging soul than on her body, so this is not a sexual tell-all. She paints hers as a spiritual quest toward true identity and there is only joy at new life rather than regret at time wasted in the ‘wrong’ one. (Public library)

 

Frida Kahlo and My Left Leg by Emily Rapp Black (2021)

[145 pages]

This was my third memoir by the author; I reviewed The Still Point of the Turning World and Sanctuary earlier in the year. Like Sinéad Gleeson does in Constellations, Rapp Black turns to Frida Kahlo as a role model for “translating … pain into art.” Polio, a streetcar accident, 32 operations, failed pregnancies and an amputated leg – Kahlo endured much suffering. It was this last particular that especially drew Rapp Black (who has had a prosthetic leg since early childhood) to her. On a visit to Kahlo’s Mexico City home, she can hardly bear the intimacy of seeing Kahlo’s prostheses and corsets. They plunge her back into her own memories: of passing as normal despite a disability, having an eating disorder, losing her son Ronan to Tay-Sachs disease, and starting over with a new marriage and baby. Rapp Black weaves this all together artfully as well as effectively, but for someone like me who is already conversant with her story, there wasn’t quite enough in the way of new material.

With thanks to Notting Hill Editions for the free e-copy for review.

  

Fiction:

These first two ended up having a major arc in common: desperate preservation of key family relationships against the backdrop of a believably falling-apart near-future world.

 

The End We Start From by Megan Hunter (2017)

[127 pages]

A woman, her partner (R), and their baby son flee a flooded London in search of a place of safety, traveling by car and boat and camping with friends and fellow refugees. “How easily we have got used to it all, as though we knew what was coming all along,” she says. Her baby, Z, tethers her to the corporeal world. What actually happens? Well, on the one hand it’s very familiar if you’ve read any dystopian fiction; on the other hand it is vague because characters only designated by initials are hard to keep straight and the text is in one- or two-sentence or -paragraph chunks punctuated by asterisks (and dull observations): “Often, I am unsure whether something is a bird or a leaf. *** Z likes to eat butter in chunks. *** We are overrun by mice.” etc. It’s touching how Z’s early milestones structure the book, but for the most part the style meant this wasn’t my cup of tea. (Secondhand purchase)

 

My Monticello by Jocelyn Nicole Johnson (2021)

[For novella only: 182 pages?]

Pick this up right away if you loved Danielle Evans’s The Office of Historical Corrections. After “the unraveling,” Da’Naisha and fellow escapees from racial violence in Charlottesville – including her former and current boyfriends, the one Black and the other white; and her ailing grandmother, MaViolet – shelter at Thomas Jefferson’s famous Virginia estate. At first they stay by the visitor’s center, but as weeks pass and they fear a siege, they retreat to the mansion itself. Da’Naisha, our narrator, becomes the de facto leader of the motley crew, spearheading a trip out for supplies. She harbors two major secrets, one about her heritage and one about her future. Although this is a bit too similar to Parable of the Sower, against which I judge just about any dystopian fiction, the setting and timeliness can’t be beat. I read the U.S. ebook edition, which includes five short stories that also explore race issues and employ the first person plural and second person to good effect; “Buying a House Ahead of the Apocalypse” encapsulated my whole autumn mood. (Read via Edelweiss)

 

The Cemetery in Barnes by Gabriel Josipovici (2018)

[101 pages]

After reviewing Josipovici’s 100 Days earlier in the month, I wanted to get a taste of his fiction. The protagonist is a translator who has lived in London, Paris and now rural Wales. He’s been married twice but, whatever his living situation, he’s always prized the solitude and routine he needs for his work. Passages from Monteverdi’s opera L’Orfeo and Joachim du Bellay’s poetry – in the original language, sometimes but not always translated for us – drift through the novella, which also prioritizes the sort of repeated phrases that constitute a long-cohabitating couple’s domestic vocabulary. References to cemeteries and to du Bellay’s Regrets are hints of something hasn’t isn’t being revealed to us up front. I think I worked out what it was. Clever and interesting, but I’d like a bit more grounding detail. A favorite line: “for one’s life not living up to expectation there is no excuse, except for the paltry one that this is true of everybody’s life.” (University library)

 

When the Emperor Was Divine by Julie Otsuka (2002)

[145 pages]

Otsuka’s The Buddha in the Attic, about Japanese mail order brides in early 1900s San Francisco, was one of my first encounters with the first person plural, which I’ve come to love. It also serves as a prequel to this, her debut novel. In Berkeley, California in 1942, a Japanese man is arrested as a potential enemy combatant. His wife, son and daughter are given just a matter of days to pack their things and evacuate to an internment camp in the desert. Otsuka takes us along on the train journey and to the camp, where small moments rather than climactic ones reveal the children’s sadness and the injustice of what they’re missing out on. I most enjoyed the last section, when they all return to their home after over three years away and start to piece life back together. I’d already read a few novels featuring Japanese internment (e.g. The Japanese Lover and Snow Falling on Cedars) but, more than that, Otsuka’s writing is a tad too subtle for me. (Secondhand purchase)

 

In total, I read 29 novellas this November – a new record for me! I didn’t set out to read the equivalent of nearly one per day, but it happened to pan out like that. Some of my selections were very short indeed, at under 100 pages; multiple volumes of Garfield comics also helped. Three were 5-star reads: The Cost of Living by Deborah Levy plus two rereads, Conundrum by Jan Morris (above) and our classics buddy read, Ethan Frome by Edith Wharton.

 

I also had a couple of DNFs:

Gone by Michael Blencowe: (45 pages) I made a second attempt on this essay collection about extinct species this month. Maybe I’ve just read too much around the topic recently. (Review copy)

Inside the Bone Box by Anthony Ferner: (50 pages) I loved the idea of a novella about a neurosurgeon, but mostly this concerns Nick’s fatness and his family members’ various dysfunctions. (New purchase)

New Networks for Nature 2021 Conference in Bath

Hard to believe, but this past weekend was my seventh time attending the New Networks for Nature conference. It was held in Bath on this occasion, after a number of years in Stamford plus once each in Cambridge, York, and online (last year, of course). I happen to have written about it in most other years (2015, 2016, 2018, 2019 and 2020), and this year’s programme was so brilliant it would be a shame not to commemorate it. The weekend in Bath started off in a wonderful way: I was finally able to meet Susan of A life in books in person. We talked blogs and book prizes (and Covid and cats) over hot drinks by the Abbey square, and I even got her to sign my copy of her book, the Bloomsbury Essential Guide for Reading Groups.

As I’ve mentioned before, what makes New Networks for Nature special is the interdisciplinary approach: artists, poets, musicians, activists, academics and conservationists attend and speak. The audience, let alone the speakers’ roster, is a who’s who of familiar names and faces from the UK nature writing world. So although the event might seem geared more towards my ecologist husband, there’s always plenty to interest me, too. The conference planners make ongoing efforts to diversify the programme: this year there were several all-female panels and seven BIPOC appeared on stage. It was a hybrid event in two senses: people could live-stream from home if not comfortable attending in person, and a few speakers appeared on the screen from locations as far-flung as India and New Zealand.

Exploring the Kennet & Avon canal (which also runs behind our house) one lunchtime. Photo by Chris Foster.

I hadn’t had much time to peruse the programme before the conference began. Without exception, the sessions surpassed my expectations. The opening event on the Friday evening was, fittingly, about the question of inclusivity. Nicola Chester, author of On Gallows Down; Anita Roy, part of the Transition Town Wellington movement and co-editor of Gifts of Gravity and Light; and David Lindo, known as “The Urban Birder,” had a discussion with Seb Choudhury about access to ‘the countryside’, which they agreed is perhaps an unhelpful term that discourages people from going out and experiencing the wildlife on their doorstep.

Saturday opened with a panel on art and environmental awareness. Harriet Mead welds sculptures out of found objects, Rachel Taylor is a scientist who makes birds out of glass, and Sarah Gillespie is a landscape painter whose prints of moths are so lifelike you’d swear they’re photographs. Gillespie spoke for all of them when she said that attention breaks down the dualism between self and other, creating an exchange of energies, with the artist serving as the watchman. These observations appeared to hold true for nature writing as well.

Scientists and writers alike commented on plastics in the environment and species migration. Did you know that 500,000 tons of plastic food packaging is created in the UK per year? Or that dolphins form allyships and have a culture? In the afternoon we met three teenage climate activists who have been involved in school strikes, COP26 protests, and volunteering to cultivate green spaces. Their public speaking ability was phenomenal. A final session of the day was with Julian Hector, head of the BBC Natural History Unit. He showed clips from some of the most famous nature documentaries made during his tenure and polled the room about how they feel about the use of music for emotional manipulation.

 

 

Eurasian Curlew, photographed by Andreas Trepte, CC BY-SA 2.5, via Wikimedia Commons.

Speaking of music, the highlight of the conference came about due to the unlikely friendship between Mary Colwell, writer and curlew conservation activist, and singer/songwriter David Gray, who met her after he donated to one of her campaigns and has since gone along on one of her fundraising walks, narrated and scored a short documentary on curlews (you can watch it here), and contributed a song to a forthcoming RSPB-funded album inspired by curlews. We had the absolute treat of attending his first public performance in over two years on the Saturday evening at St Swithin’s Church, a venue that holds perhaps 200 people – versus next year he’ll be filling 20,000-seat stadiums for his White Ladder 20th anniversary tour.

This was carefully billed as an evening in conversation with David Gray rather than a gig, but in the end we got seven songs performed live at the church piano, as opposed to the three originally planned, so I call that a win! Other song excerpts were played over the sound system: “Let the Truth Sting” from his ‘angry young man’ phase, “Accumulates” as an anti-consumerism screed, and “Gulls” (based on an obscure Belgian poem) and “The Sapling” to illustrate how nature imagery enters into his lyrics.

Raised in Pembrokeshire, Gray loved going out on a fishing boat with his neighbours and seeing the seabirds massing around Skomer Island. He said he doesn’t think he’s ever gotten over those childhood experiences, and now he welcomes every sighting of a barn owl near his home in Norfolk (and encouraged us all to start gluing ourselves to roads). One of the songs he performed was indeed “The White Owl,” from Skellig, released early this year. Subtler than some of his albums, it was mostly recorded in a live setup and is built around simple, almost chant-like repeats and harmonies. That incantatory beauty was evident on another song he played live, “No False Gods,” which I didn’t realize has at its core a line from a Nan Shepherd poem: “We are love’s body or we are undone.”

Gray finished the official programme with his unreleased curlew song, “The Arc,” but came back for an encore of “Birds of the High Arctic,” “All that We Asked For” and “Sail Away” – this last to great cheers of recognition. He couldn’t figure out how to finish it after the whistling so just gave a few last plinks and then a hearty laugh as he returned to the stage to answer questions. We were impressed with his eloquence, sense of humour and BIG voice, especially on “Ain’t No Love” (from what has been our favourite of his albums, 2005’s Life in Slow Motion) – I got the feeling he barely needed a microphone to fill the whole church.

 

Sunday morning opened, appropriately, with a panel on nature and spirituality, featuring Satish Kumar, an octogenarian peace pilgrim to nuclear sites; Jini Reddy, author of Wanderland; and Nick Mayhew-Smith, who’s travelled to places of Celtic spirituality around the British Isles, such as hermits’ caves. Kumar led us in a meditation on gratitude and belonging, and suggested that we are all connected, and all spiritual, because we all share the same breath. He described the world’s religions as many tributaries of the same river.

Perhaps my favourite session of all was on the role of nature in weird and Gothic literature. Authors Maggie Gee and Laura Jean McKay (both appearing via video link), and Ruth Padel, a New Networks stalwart, conversed with Bath Spa professor Richard Kerridge. Gee has been writing about climate change in her novels for nearly 40 years; she said the challenge is to make the language fresh again and connect with readers subliminally and emotionally, without preaching or lecturing. She called The Red Children, coming out in March, a future fairy tale, comic and hopeful, and read from the beginning, including a raven’s speech.

This connected with McKay’s The Animals in That Country, from which she read the passage where Jean realizes she can hear the lab mice talking to her. McKay said speculative fiction has been edging ever closer to reality in recent years; she recently realized she was reading Ling Ma’s zombie novel Severance as a guide to surviving the pandemic. In her opinion, novels are to open doors and ask questions – the opposite of what politicians do. Padel added that attention can be an antidote to eco-grief, with art a framework for creating resolution.

Longer sessions were punctuated with readings (from On Gallows Down and Samantha Walton’s Everybody Needs Beauty), performances (Merlyn Driver, who grew up without electricity and not going to school on Orkney, proposed the curlew album to the RSPB and played his song “Simmer Dim”) or short films – one on the plastic pollution encountered by a stand-up paddle boarder travelling the length of the Severn river and another on the regenerative farming a young couple are doing in Spain at Wild Finca.

The closest we came to a debate over the weekend was with the final session on ecotourism. Representing the pro side was Ian Redmond, who works with mountain gorillas in Rwanda. The $1500 fee that each group of tourists pays to be taken into the reserve goes directly to conserving their habitat. But to get there people burn carbon flying long distances, and Nick Acheson finds that unconscionable. After 20 years as a wildlife guide to the amazing animals of Madagascar and South America, he’s vowed never to fly again. He stays close to home in Norfolk and travels by bike. His statistics were arresting and his argumentation hard to counter. Think hard about your motivation, he challenged. If you truly want to help local people and wildlife, donate money instead. The white saviour mentality is a danger here, too.

 


Much food for thought, then, though always in the back of the mind is the knowledge that (as some speakers did say aloud) this event preaches to the choir. How to reach those who haven’t fallen in love with the natural world, or haven’t woken up to the climate crisis? Those questions remain, but each year we have NNN to recharge the batteries.

Next time the conference will be back to York for the first weekend of November, with a tagline of “Survive, Thrive, Revive.” I’m looking forward to it already!

 

Would any of the conference’s themes or events have interested you?

R.I.P. Reads for Halloween: Ashworth, Bazterrica, Hill, Machado & More

I don’t often read anything that could be classed as suspense or horror, so the R.I.P. challenge is a fun excuse to dip a toe into these genres each year. This year I have an eerie relationship study, a dystopian scenario where cannibalism has become the norm, some traditional ghost stories old and new, and a bonus story encountered in an unrelated anthology.

 

Ghosted: A Love Story by Jenn Ashworth (2021)

Laurie’s life is thrown off kilter when, after they’ve been together 15 years, her husband Mark disappears one day, taking nothing with him. She continues in her job as a cleaner on a university campus in northwest England. After work she visits her father, who is suffering from dementia, and his Ukrainian carer Olena. In general, she pretends that nothing has happened, caring little how odd it will appear that she didn’t call the police until Mark had been gone for five weeks. Despite her obsession with true crime podcasts, she can’t seem to imagine that anything untoward has happened to him. What happened to Mark, and what’s with that spooky spare room in their flat that Laurie won’t let anyone enter?

If you find unreliable narrators delicious, you’re in the right place. The mood is confessional, yet Laurie is anything but confiding. Occasionally she apologizes for her behaviour: “I realise this does not sound very sane” is one of her concessions to readers’ rationality. So her drinking problem doesn’t become evident until nearly halfway through, and a bombshell is still to come. It’s the key to understanding our protagonist and why she’s acted this way.

Ghosted wasn’t what I expected. Its air of supernatural menace mellows; what is to be feared is much more ordinary. The subtitle should have been more of a clue for me. I appreciated the working class, northern setting (not often represented; Ashworth is up for this year’s Portico Prize) and the unusual relationships Laurie has with Olena, as well as with co-worker Eddie and neighbour Katrina. Reminiscent of Jo Baker’s The Body Lies and Sue Miller’s Monogamy, this story of a storm-tossed marriage was a solid introduction to Ashworth’s fiction – this is her fifth novel – but I’m not sure the payoff lived up to that amazing cover.

With thanks to Sceptre for the free copy for review.

 

Tender Is the Flesh by Agustina Bazterrica (2017; 2020)

[Translated from the Spanish by Sarah Moses]

This sledgehammer of a short Argentinian novel has a simple premise: not long ago, animals were found to be infected with a virus that made them toxic to humans. During the euphemistic “Transition,” all domesticated and herd animals were killed and the roles they once held began to be filled by humans – hunted, sacrificed, butchered, scavenged, cooked and eaten. A whole gastronomic culture quickly developed around cannibalism.

Marcos is our guide to this horrific near-future world. Although he works in a slaughterhouse, he’s still uneasy with some aspects of the arrangement. The standard terminology is an attempt at dispassion: the “heads” are “processed” for their “meat.” Smarting from the loss of his baby son and with his father in a nursing home, Marcos still has enough compassion that when he’s gifted a high-quality female he views her as a person rather than potential cuts of flesh. His decisions from here on will call into question his loyalty to the new system.

I wondered if there would come a point where I was no longer physically able to keep reading. But it’s fiendishly clever how the book beckons you into analogical situations and then forces you to face up to cold truths. It’s impossible to avoid the animal-rights message (in a book full of gruesome scenes, the one that involves animals somehow hit hardest), but I also thought a lot about how human castes might work – dooming some to muteness, breeding and commodification, while others are the privileged overseers granted peaceful ends. Bazterrica also conflates sex and death in uncomfortable ways. In one sense, this was not easy to read. But in another, I was morbidly compelled to turn the pages. Brutal but brilliant stuff. (Public library/Edelweiss)

 

Fear: Tales of Terror and Suspense, selected by Roald Dahl (2017)

I reviewed the five female-penned ghost stories for R.I.P. back in 2019. This year I picked out another five, leaving a final four for another year. (Review copy)

“W.S.” by L.P. Hartley: The only thing I’ve read of Hartley’s besides The Go-Between. Novelist Walter Streeter is confronted by one of his characters, to whom he gave the same initials. What’s real and what’s only going on in his head? Perfectly plotted and delicious.

“In the Tube” by E.F. Benson: The concept of time is called into question when someone witnesses a suicide on the London Underground some days before it could actually have happened. All recounted as a retrospective tale. Believably uncanny.

“Elias and the Draug” by Jonas Lie: A sea monster and ghost ship plague Norwegian fishermen.

“The Ghost of a Hand” by J. Sheridan Le Fanu: A disembodied hand wreaks havoc in an eighteenth-century household.

“On the Brighton Road” by Richard Middleton: A tramp meets an ill boy on a road in the Sussex Downs. A classic ghost story that pivots on its final line.

 

The Small Hand: A Ghost Story by Susan Hill (2010)

This was my fourth of Hill’s classic ghost stories, after The Woman in Black, The Man in the Picture and Dolly. They’re always concise and so fluently written that the storytelling voice feels effortless. I wondered if this one might have been inspired by “The Ghost of a Hand” (above). It doesn’t feature a disembodied hand, per se, but the presence of a young boy who slips his hand into antiquarian book dealer Adam Snow’s when he stops at an abandoned house in the English countryside, and again when he goes to a French monastery to purchase a Shakespeare First Folio. Each time, Adam feels the ghost is pulling him to throw himself into a pond. When Adam confides in the monks and in his brother, he gets different advice. A pleasant and very quick read, if a little predictable. (Free from a neighbour)

 

And a bonus story:

Carmen Maria Machado’s “The Lost Performance of the High Priestess of the Temple of Horror” appears in Kink (2021), a short story anthology edited by Garth Greenwell and R.O. Kwon. (I requested it from NetGalley just so I could read the stories by Machado and Brandon Taylor.) It opens “I would never forget the night I saw Maxa decompose before me.” A seamstress, obsessed with an actress, becomes her dresser. Set in the 19th-century Parisian theatre world, this pairs queer desire and early special effects and is over-the-top sensual in the vein of Angela Carter, with hints of the sadomasochism that got it a place here.

Sample lines: “Women seep because they occupy the filmy gauze between the world of the living and the dead.” & “Her body blotted out the moon. She was an ambulatory garden, a beacon in a dead season, life where life should not grow.”

 


Also counting the short stories by Octavia E. Butler and Bradley Sides, I did some great R.I.P. reading this year! I think the book that will stick with me the most is Tender Is the Flesh.

The 1976 Club: Woman on the Edge of Time & The Takeover

It’s my fourth time participating in one of Simon and Karen’s reading weeks (after last year’s 1920 Club and 1956 Club and April’s 1936 Club). I start with a novel I actually read for my book club’s short-lived feminist classics subgroup way back in March but didn’t manage to review before now, and then have another I picked up especially for this challenge. Both were from the university library.

Woman on the Edge of Time by Marge Piercy

An unusual and fascinating novel with hints of science fiction, but still grounded in the real world (in a way that would attract fans of Octavia E. Butler’s Kindred and Parable duology), this contrasts utopian and dystopian scenes experienced by a Latina woman who’s been confined to a mental hospital. At 37, Connie Ramos has had a tough life marked by deprivation and domestic violence; “it was a crime to be born poor as it was a crime to be born brown.” She finds herself in conversation with Luciente, a plant geneticist who claims to be visiting from the future – coastal Massachusetts in 2137 – and has heard rumors of this prior Age of Greed and Waste. Luciente senses that Connie is a “catcher,” receptive to the wavelength of other times and places.

When drawn into Luciente’s future, Connie thinks of it more as a peasant past because of the animal husbandry and agriculture, but comes to appreciate how technology and gender equality contribute to a peaceful society and environmentally restored landscape. I was intrigued by the dynamic Piercy imagines: everyone is of indeterminate gender (the universal pronouns are “person” and “per” – how about it? Both less confusing and more aesthetically pleasing than they/them!); embryos are cultured in machines and the resulting children raised communally with three honorary named “mother” figures. People choose their own names and change them in response to rites of passage. There’s no government or police. Free love reigns. “Our notions of evil center around power and greed” rather than sex, Connie is told.

With Connie and her fellow inmates facing mind-altering surgery in the ‘real’ world, Luciente’s community becomes a blessed escape. But on one of her time travels, she ends up in a dystopian future New York City instead. From 126 floors up, all that’s visible through the smoggy air is other towers. Everyone is genetically modified and everything is owned by corporations. Which scenario represents the authentic evolution of human society?

The way Piercy intersperses these visions with life at the mental hospital, and closes with excerpts from Connie’s patient notes, forces you to question whether they might all be hallucinations. We didn’t come to any firm conclusion during our Zoom discussion. The others found Connie’s life unremittingly bleak, but I love me a good mental hospital narrative. While I wearied a bit of the anthropological detail as the novel went on, I thought it an intense cultural commentary from a writer ahead of her time on gender roles and the environment (small-scale food production, foraging, renewable energy and reusing/recycling are givens in her utopia, and she questions the nonsensical reliance on cars. Why didn’t we listen to the prophets of the 1970s when we maybe had a chance to turn things around?!).

My rating:

 

The Takeover by Muriel Spark

Had I read this in manuscript with no author name attached, I might have declared it to have been written by Iris Murdoch for the clutch of amoral characters, the love triangles, the peculiar religious society, the slight meanness of the attitude, and the detachment of the prose. Maggie Radcliffe is a rich American who owns three houses in the vicinity of Rome, one of which she rents out to Hubert Mallindaine, an effete homosexual who alleges that he is descended from the goddess Diana and founds a cult in her honour. He holds to this belief as fiercely as he defends his right to remain at Nemi even when Maggie decides she wants him out and employs lawyers to start eviction proceedings. There are odd priests, adulterous family members, scheming secretaries, and art and jewellery thieves, too. I wouldn’t say I’m a fan, but I liked this, my fourth novel by Spark, better than the rest. Italian bureaucracy makes for an amusing backdrop to what is almost a financial farce with an ensemble cast.

My rating:

 

Another 1976 release I’ve reviewed this year: The Easter Parade by Richard Yates.

Review and Q&A: Those Fantastic Lives by Bradley Sides

Bradley Sides and I worked together on Bookkaholic web magazine in 2014–15 and I’ve been following his career ever since. I was delighted to get early access to his debut short story collection, Those Fantastic Lives (out today from Blacklight Press), which was an ideal transition for me from September’s short story focus to October’s R.I.P. challenge for how it blends the genres of dystopia, horror, and magic realism with literary writing.

Many of the protagonists in these 17 stories are orphans or children who have lost one parent. Grief uproots them, leaves them questing; combine their loneliness with dashes of the supernatural and you have perfect situations for strange and wonderful things to happen. So in the title story we have Sam, who at eight longs to follow in his psychic grandmother’s footsteps. In the achingly beautiful “Dolls for the End of the World,” young Patrick’s empathy somehow makes the apocalypse more bearable. In “The Hunt,” 10-year-old Zoey is obsessed with finding a sasquatch, while “In the Hollow” Walt trusts wolf-like creatures to lead him to his dead mother.

“Commencement,” in a first-person plural voice, is the creepiest of the lot, documenting preparations for graduation at a special academy. To be named the class valedictorian is an enduring yet dubious honor… But there are flashes of humor in the book as well. For instance, the lighthearted werewolf story “A Complicated Correspondence” is told via a series of increasingly convoluted e-mails. These two and “Back in Crowville,” in which scarecrows are used to scare off ghosts, too, struck me as perfect Halloween reading. I’d particularly recommend the book to readers of Kelly Link and Lydia Millet.

Brad and I had a chat over e-mail about his inspiration, themes and publication process.

 

Can you remember what the seed was for some of these stories? A particular line, scene, image, or character? Do you start writing a story with a title in mind, or does the title usually suggest itself later on?

Almost all of the stories I write come to me initially as a vision. I don’t mean in a dream or anything that dramatic, but I might be walking and see a stream, and suddenly that stream is placed in another world, and the stakes are much, much higher. Once I see my characters or my setting or my situation, I have to write a story that leads up to the moment I’m seeing. Writing and creating is, for me, a very internalized process.

Titles are so hard for me. I wish this weren’t the case, but I never write with titles in mind. Sometimes I’ll have the story ready, and I might have to wait weeks before I come to the right title. In regards to writing, I think I’m the worst at titling.

 

I think my favorite line in the book might be “Just because something can’t be seen doesn’t mean that it’s gone.” That’s from “The Comet Seekers,” about a pair of brothers in search of their father. A number of the stories feature children who have lost a guardian. How does bereavement alter the course of these coming-of-age narratives?

I’m so interested in loss in general. In life, we lose things. As kids. As adults. It doesn’t stop. I grew up on a farm, and animals died constantly. Chickens were slaughtered by foxes. Ducks were killed on their nests by turtles. Cows were sold and slaughtered. Pets died. Loss was everywhere. I’ve always thought about it. I guess, in many ways, loss haunts me.

I feel like bereavement and orphanhood create tension in many of my stories, but they also serve to add stakes to my characters’ lives. It’s tough to keep losing. Sometimes, you’ll do anything to keep from experiencing that—or to try to keep from experiencing that, at least. There’s power there.

 

I imagine that, like sequencing an album, choosing the order of the stories was a pleasurable challenge. How did you decide on the structure of the book – the opening story, the closing story; the themes running into or contrasting with each other; transitions; and so on?

It was a fun process to start putting all of my work together. I mean, it was also a little stressful once I got near the end and was getting ready to send Those Fantastic Lives out, but it was still fun. I have written a lot of stories, but for my collection, I wanted to only include the stories I love the most. I cut and cut based on just pure writerly love first—and gut instinct, I suppose. Once I had it narrowed, I started looking closely at themes. I removed a handful that felt like they didn’t belong. I really like slim collections (and slim books in general), so I wanted something relatively short—something less than 200 pages. The strangest thing I did was that I read the collection aloud. SEVERAL times, too. If a story didn’t fit the sound, I cut it. I really wanted to put out a cohesive collection, and I think (hope?) I’ve done that with these seventeen stories.

 

I loved how elements recurred in later tales – for instance, in both “Losing Light” and “The Mooneaters” characters consume sources of light and glow from the inside, and “What They Left Behind” connects back to “The Mooneaters” in that a character starts to sprout feathers. How do you account for these pervasive images?

This is probably a terrible response to such a great question, but it’s the truth: I look at the sky a lot. As in, probably way beyond what is normal. When I walk my dog, I look up at the morning sky and think about the clouds and the rising sun. When my wife and I are out on the porch in the evenings, I look up and think about the approaching stars. The coming moon. Whether early or late, the birds are always around, flying to wherever it is they go. I am so amazed by and curious of the sky. It’s such a beautiful, mysterious place that hovers above us, and it’s kind of the perfect space for me to root a lot of the fantastical elements of my stories.

 

In my favorite story, “The Galactic Healers,” Lian makes contact with aliens who offer a therapeutic balm. His suspicious father takes the medicine by force – a plan that quickly backfires. To what extent might this one be read as a parable of colonial exploitation and toxic masculinity?

I’m so glad you liked “The Galactic Healers,” Rebecca. It is one of my favorites, too. I’m naturally drawn, just as a human and not even necessarily speaking as a writer, to the topics you mention. I think about otherness. What it means to be outside or different. In that same way, I think about tender versus toxic behavior. I think the reading you have of the story is definitely a good one. And it probably captures where I was, in my head, at that time.

 

I sensed shades of Karen Russell and George Saunders. Who are some of your favorite writers, and who would you cite as inspirations for the collection?

I love Karen Russell and George Saunders both. I’m honored that my work reminds you of their writing. I think they are both influences on my fiction. I’m also inspired by Ray Bradbury a lot. I’m a very visual creator, so television writers also serve as huge inspirations for me. Mike Flanagan’s work (The Haunting of Hill House and The Haunting of Bly Manor) haunts me, and I love it.

Bradley Sides. Photo by Abraham Rowe.

 

Versions of 12 of the stories previously appeared in various publications. What has your experience been of getting your work into literary magazines?

Getting published in literary magazines is an exhausting process. Don’t get me wrong, it’s a necessary one and one that gives me a lot of joy in the long run, but it’s also tough. I write weird stuff. Not every magazine wants a story about glowing monsters or a tiny kid whose home planet was invaded by giants and now lives on an ice cube. Finding the right magazine takes time, and even when I think I’ve found the right place, I’m sometimes wrong. I submit, hope for the best, and keep submitting. Usually, most of my stories wind up finding homes in the first five or so magazines I submit them to, but that’s not always the case. With “What They Left Behind,” for example, I bet I sent that story to twenty or thirty magazines before I found the perfect match at Crow & Cross Keys. Although it took some time to land at its home, it found its PERFECT home.

 

These stories were seven years in the making. What was your road to publication like, and how did you land at Blacklight Press?

Like many yet-to-publish-a-book writers, I was constantly searching for publication information as I was reaching the end of my writing cycle for Those Fantastic Lives, and I kept encountering these articles about how long and tough the publication process can be. I was prepared for it to take years before I found a press willing to take on my collection.

Once it was ready, I sent Those Fantastic Lives out to a handful of publishers—all of which I’d found out about with basic web searches. A couple were interested, but the offer wasn’t what I was looking for. A couple showed interest, but ultimately passed. Blacklight landed, and I knew it was what I was looking for very early on.

The process of when I began to when I found my publisher was probably less than six months.

The whole team at Blacklight has been fantastic, too. It’s really been a dream experience. I feel very grateful.

 

In your day job, you teach English and creative writing to high schoolers. What are some of the most important lessons you hope your students will take away from your classes, and what have you learned from them?

I hope, more than anything, that my students learn that their words—and their stories—matter. If they truly put themselves into their work, it is art, and it is important. I also hope they leave my classroom knowing how important respect is. To other writers. To themselves. To their eventual readers. To people in general. Respect is key.

I’ve learned so much from my creative writing students. They inspire me. They motivate me. Seeing their excitement when they write something they are proud of reminds me why I write in the first place. They are also wonderfully eager readers. I love discussing stories with them and learning how they perceive texts. Creative writing classes are treasured places.

 

What are you working on next?

Earlier this year, I began working on my next set of stories. I’m a slow writer. Maybe a very slow writer. With it being so early in the process, it’s hard to say exactly what the next collection will look like, but I do think I’ll largely stay focused on the same kinds of themes. Loss, loneliness, and transformation are naturally interesting to me. There’ll be more experimentation with form. A story in the shape of a manual. A gameplay story. A transcript. A flash in questions. There’ll be plenty of magical weirdness, too, with, probably, pond monsters, apocalypses, a shark boy, kidnapping ghosts, and who knows what else. I just hope it won’t take me so long to write this second book!