Today I have a book of poems about Covid lockdown and being autistic, a reprint of a vintage cookbook with a difference, the pinnacle of autofiction that I’ve found thus far, and a prize-winning collection of short stories about immigrants’ everyday challenges.
The Oscillations by Kate Fox (2021)
The first section, “After,” responds to the events of 2020; six of its poems were part of a “Twelve Days of Lockdown” commission. Fox remembers how sinister a cougher at a public event felt on 13th March and remarks on how quickly social distancing came to feel like the norm, though hikes and wild swimming helped her to retain a sense of possibility. I especially liked “Pharmacopoeia,” which opens the collection and looks back to the Black Death that hit Amsterdam in 1635 – “suddenly the plagues / are the most interesting parts / of a city’s history.” “Returns” plots her next trip to a bookshop (“The plague books won’t be in yet, / but the dystopia section will be well stocked / … I spend fifty pounds I no longer had last time, will spend another fifty next. / Feeling I’m preserving an ecology, a sort of home”), while “The Funerals” wryly sings the glories of a spring the deceased didn’t get to see.
The second section, “Before,” is more wide-ranging, responding to artworks, historical events, family situations, and more. Fox has been vocal about her ASD, which is the subject of “What Could Be Called Communication,” about some habits of the neurodivergent that you might recognize. I also liked “The Fruits,” which narrates the end of a pregnancy, and the closing poem, “Emergency” (“between us, / sometimes despite us / love spreads like a satellite signal, / like sea foam, / like spilt coffee on a counter top, / like home.”). That was one of the few places in the whole book where the language (alliteration and an end-rhyme) struck me; elsewhere, the themes felt more notable than the poetic techniques.
With thanks to Nine Arches Press for the proof copy for review.
Eating Alone by Kathleen Le Riche (1954)
Recently reprinted as a facsimile edition by Faber, this was Le Riche’s third cookbook. It’s like no other cookbook I’ve read, though: It doesn’t list ingredients or, generally, quantities, and its steps are imprecise, more like suggestions. What it reads like is a set of short stories with incidental recipes. Le Riche had noted that people who live alone some or all of the time, for whatever reason, often can’t be bothered to cook for themselves properly. Through these old ladies, bachelors, career girls, and mothers with children off at school, she voices her ideas on shopping, food storage, simple cooking, and making good use of leftovers, but all through the medium of anecdote.
For instance, “The Grass Widower,” while his wife is away visiting her mother, indulges his love of seafood and learns how to wash up effectively. A convalescent plans the uncomplicated meals she’ll fix, including lots of egg dishes and some pleasingly dated fare like “junket” and cherries in brandy. A brother and sister, students left on their own for a day, try out all the different pancakes and quick breads in their repertoire. The bulk of the actual meal ideas come in a chapter called “The Happy Potterer,” whom Le Riche styles as a friend of hers named Flora who wrote out all her recipes on cards collected in an envelope. I enjoyed some of the little notes to self in this section: appended to a recipe for kidney and mushrooms, “Keep a few back for mushrooms-on-toast next day for a mid-morning snack”; “Forgive yourself if you have to use margarine instead of butter for frying.”
I don’t think there are any recipes here that I would actually try to reproduce, though I may one day attempt the Grass Widower’s silver-polishing method (put a strip of aluminium foil and some “washing soda” (soda crystals?) in the sink and pour over some boiling water from the kettle; dip in the silver items, touching them to the foil, and watch the tarnish disappear like magic!). This was interesting as a cultural artefact, to see the meals and ingredients that were mainstays of the 1950s (evaporated milk, anyone?) and how people coped without guaranteed refrigeration. It’s also a good reminder to eat well no matter your circumstances.
With thanks to Faber for the free copy for review.
A Feather on the Breath of God by Sigrid Nunez (1995)
My third from Nunez, after The Friend and What Are You Going Through, and my most loved of her books thus far, cementing her as one of my favourite authors. Like the other two, it’s narrated by an unnamed woman who defines herself by the people she encounters and the experiences she has in an unforgiving but still somehow beautiful and funny old world. From the little I know of Nunez, this seems the closest to autofiction, especially in terms of her parental origins. The father, Chang, born in Panama and raised in China, immigrated to the USA at age 12. In Germany for war service, he met her mother, Christa, just after VE Day.
Chang and Christa, the subjects of the book’s first two sections – accounting for about half the length – were opposites and had a volatile relationship. Their home in the New York City projects was an argumentative place the narrator was eager to escape. She felt she never knew her father, a humourless man who lost touch with Chinese culture. He worked on the kitchen staff of a hospital and never learned English properly. Christa, by contrast, was fastidious about English grammar but never lost her thick accent. An obstinate and contradictory woman, she resented her lot in life and never truly loved Chang, but was good with her hands and loved baking and sewing for her daughters.
Growing up, the narrator never knew quite what to make of her mixed, “exotic” background. For a time, she escaped into ballet, a tantalizingly female discipline that threw up a lot of issues: class pretensions, the eroticization of young girls and of pain, and eating disorders. When she went without solid food for days at a time, she felt she was approaching the weightlessness Saint Hildegard likened to being “a feather on the breath of God.” The final chapter, “Immigrant Love,” jumps ahead to when the narrator taught English as a foreign language and had an affair with Vadim, a married Russian taxi driver full of charisma but also of flaws. This finale is a brilliant twist on her parents’ situation, and a decision to teach English in China brings things full circle, promising a connection to her late father’s heritage.
The strategy of identifying the self by the key relationships and obsessions of a life struck me as spot on. This short novel punches above its weight, with profound observations on every page. Its specific situations are engaging, yet it speaks to the universals of how we cope with a troublesome past. “One wants a way of looking back without anger or bitterness or shame. One wants to be able to tell everything without blaming or apologizing,” Nunez writes, crystallizing her frank, wry approach. I’m eager to read all the rest of her oeuvre.
First published in the UK in 2021. With thanks to Virago Press for the free copy for review.
How to Pronounce Knife by Souvankham Thammavongsa (2020)
Thammavongsa pivoted from poetry to short stories and won Canada’s Giller Prize for this debut collection that mostly explores the lives of Laotian immigrants and refugees in a North American city. The 14 stories are split equally between first- and third-person perspectives, many of them narrated by young women remembering how they and their parents adjusted to an utterly foreign culture. The title story and “Chick-A-Chee!” are both built around a misunderstanding of the English language – the latter is a father’s approximation of what his children should say on doorsteps on Halloween. Television soaps and country music on the radio are ways to pick up more of the language. Farm and factory work are de rigueur, but characters nurture dreams of experiences beyond menial labour – at least for their children.
The stories are punchy: perfect snapshots of lives lived on the tightrope between expectation and despair. In “Mani Pedi,” Raymond is a former boxer who starts working at his sister’s nail salon and falls in love with a client. His sister warns him, “Don’t you be dreaming big now, little brother. Keep your dreams small. The size of a grain of rice.” In “Slingshot,” an older woman loses touch with her much younger lover, while in “The Gas Station,” Mary, a prim tax accountant, opens herself to love but ends up disappointed. The great-grandmother in “Ewwrrrkk” warns an eight-year-old that “I love you” pries open one’s legs like nothing else. “Randy Travis” and “Picking Worms” were probably my two overall favourites. Looking back, I have trouble remembering some of the individual stories. It’s not so much that they all blend into one, but that they form a cohesive whole. I’d recommend this even to readers who don’t normally pick up short stories, and will look out for more from this author.
Out in paperback on Thursday the 18th. With thanks to Bloomsbury for the free copy for review.
Would you be interested in reading one or more of these?
I’ve been taking advantage of various free and inexpensive literary events – a bonus of our temporarily virtual-only world. I have five of them stored up to write about, but to keep this post from getting absurdly long I’ll focus on two for now and feature the rest another time.
George Saunders in Conversation with Max Porter
Saunders’s latest book, A Swim in a Pond in the Rain, is a written version of the graduate-level masterclass in the Russian short story that he offers at Syracuse University, where he has taught in the Creative Writing Program since 1997. His aim here was to “elevate the short story form,” he said. While the book reprints and discusses just seven stories (three by Anton Chekhov, two by Leo Tolstoy, and one each by Nikolai Gogol and Ivan Turgenev), in the class he and his students tackle more like 40. He wants people to read a story, react to the story, and trust that reaction – even if it’s annoyance. “Work with it,” he suggested. “I am bringing you an object to consider” on the route to becoming the author you are meant to be – such is how he described his offer to his students, who have already overcome 1 in 100 odds to be on the elite Syracuse program but might still need to have their academic egos tweaked.
The book is, thus, not just a set of essays on the Russian masters but also a guide to how to write well. It was clear there was mutual admiration between Saunders and Max Porter, who interviewed him. They discussed the revision process as an accumulation of micro-decisions that make the work better. For instance, Saunders compared two Tolstoy stories, “The Snowstorm” and “Master and Man” (written 20 years later), and noted that, though they are thematically similar, the later one is more organized.
Saunders spoke about writing as a dual process of intuition and iteration; a bunch of different “yous” have acted on a text by the time it’s done. Early on in his career, he thought that he had to choose which writer he wanted to be (e.g., Hemingway or Kerouac), but as he aged he realized that the mind is never fixed. He went surprisingly deep into Buddhism at this point, likening writing to meditation – both are practices pursued with intensity. To his younger self, he would say to keep going: improving is simply a matter of time (i.e., that 10,000 hours figure that’s bandied about as necessary for developing expertise).
The only drawback to this event was that Saunders was speaking from his snow-encased upstate New York basement and had a horrible Internet connection; often his voice was faint and delayed, while his image stayed static. We and Porter could only stare gormlessly and wait for his face to move to match his words! I think the book would be too niche for me – I’ve hardly read anything by the Russians, and since I don’t write fiction I’m not in need of a guide to those kinds of writing decisions – but it was nice to ‘meet’ Saunders ‘in person’.
An Evening with Kazuo Ishiguro
(Faber Members / Guardian Live event)
Ishiguro’s new novel, Klara and the Sun, was published by Faber yesterday. This conversation with Alex Clark also functioned as its launch event. It’s one of my most anticipated books of the year, so I pre-ordered a signed copy along with my ticket and look forward to it arriving soon. Klara is an Artificial Intelligence “friend” purchased to combat teenage loneliness. A childlike figure, she is cheerful and treats the sun like a god. Ishiguro said that the book developed from a story he wrote for children aged five to six, about a little girl who takes a doll home – except his daughter, author Naomi Ishiguro, told him no way was it suitable for young children, being far too dark. He likes “displaced or alien narrators, fish out of water,” he said, because the limited perspective allows him to focus on oddness.
In addition to Clark’s questions, a few pre-recorded questions from literary celebs (Daisy Johnson, Bernardine Evaristo, and David Mitchell) encouraged Ishiguro to create a tripartite schema for his novels, reflect on his writing about Japan, and look back at the devices he has used. Asked by Johnson about the connections between his novels, he admitted that his first three novels all retread the same ground: a man who has made a mess of his life or career picks over the past. Then his mid period is set in dreamscapes, while his most recent three novels are dystopian fantasies (though he does not see Klara as set in a dystopian world).
In response to Evaristo’s question about whether he felt an obligation to write about Japan, he said that with his early work he was conscious of needing to represent a group of people who even then (due to World War II) were viewed with suspicion or antipathy. He left Japan at age five so the country didn’t seem entirely real to him. What he knew was based on very early memories, what his mother told him, comic books sent by his grandparents, etc. As he stated in his Nobel Prize acceptance speech, writing about Japan in his twenties therefore felt like “an act of preservation.” Still, he wants his characters and situations to be universal.
Replying to Mitchell’s three questions (cheeky!), he explained that his first ambition was to be a singer/songwriter, and he wrote 100+ songs. Songwriting taught him minimalism. “You can say a huge amount by what you don’t say,” he noted. He hopes to create spaces, or rather vacuums that suck in the reader’s attention. Unlike Mitchell, he always knows the ending of a book before he begins, and his decisions are all about wanting to lodge in the reader’s brain. Thus, memorable endings are a priority for him, whereas they might not be for other writers. I was struck by his characterization of his own life: when he looks back, he doesn’t see a clear path that arose from his choices; instead, he sees a “weird, incoherent mess.” For this reason, he’s turned against the reflective device of his first three books. If he can come up with a theme, he’s hankering to write a book about hitchhikers in the north of England.
Towards the end of the (overlong) discussion, he mentioned that he has been questioning the novelist’s role due to the events of the past year: wondering about the meaning of fiction when so many have died and so many believe fake news. It was a melancholy but realistic point to end on. While I’m not an Ishiguro completist (The Unconsoled doesn’t appeal to me at all and I’m not sure I can be bothered with When We Were Orphans, but I will try The Buried Giant; I’ve read the rest), the event whetted my appetite to read his new book. (See also this Goodreads interview. I loved the anecdotes about learning he’d won the Nobel!)
Bookish online events coming up soon: The Rathbones Folio Prize announcement on the 24th and Claire Fuller’s book launch for Unsettled Ground on the 25th.
Have you attended any online literary events recently?
In February 2018 Annabel and I attended the Faber Spring Party with some other blogger friends, the first time I’d been to such an event. The hoped-for repeat invitation never came last year, but 2020’s perverse gifts meant I could attend the publisher’s latest showcase as a webinar. It was free to sign up to be a Faber member (you can do so here), and now I get e-mails about new releases and interesting upcoming events.
Six new and forthcoming novels were featured last night, with author readings. There were some connection issues where the sound and image froze for a couple seconds so the voice was temporarily out of sync with the picture, which made it more difficult to engage with the extracts, but I still enjoyed hearing about these new-to-me writers.
Love After Love by Ingrid Persaud
This one came out in April, and was already on my radar. It’s about a widow, Betty, her son, Solo, and their lodger, Mr. Chetan, and how people come together to make a family despite secrets and “way too much rum”. Persaud read two excerpts, one in Betty’s voice and one from Mr. Chetan’s perspective. I loved the Trinidadian accents. (Comes with praise from Claire Adam and Marlon James.)
Meanwhile in Dopamine City by D.B.C. Pierre
Published in August and shortlisted for the Goldsmiths Prize. Pierre described his new novel as a book of voices about a single father trying to withhold a smartphone from his youngest child. One passage he read had a professor speaking to a Silicon Valley type; another was someone trying to compose the perfect tweet after hearing of the death of someone they don’t like. I’ve never read any Pierre and I don’t think I’ll start now.
A Crooked Tree by Una Mannion
Out on January 21st. A literary debut with a touch of the thriller, set in Philadelphia in 1981 and starring a large Irish American family. (Mannion herself is from Philadelphia but now lives in County Sligo.) She read from the first chapter, about a quarrelsome family drive about to go badly wrong. I was reminded of Lorrie Moore and Ann Patchett.
little scratch by Rebecca Watson
Out on January 14th. This one was already on my TBR. It’s about a day in the life of a woman in her twenties. While going through the daily routine of office life, she’s suppressing memories of a recent sexual assault. Watson’s delivery was very engaging. She read a passage in which the protagonist neurotically overthinks a colleague asking her what she’s been reading lately. “Why is it when anyone asks what I’ve read I go blank?!” (I can sympathize.)
Come Join Our Disease by Sam Byers
Byers’s third novel comes out on March 18th. Maya, who’s homeless, is offered a spot on a rehabilitation and wellness program – if she’ll document it on Instagram. He read about Maya being seized from her encampment. Two early Goodreads reviews made me laugh out loud and convinced me this isn’t for me: “Reads like David Foster Wallace mixed with Marquis de Sade in a blender” and “Promising start but soon disappears up its own arse.”
This One Sky Day by Leone Ross
On the magical Caribbean island of Popisho, something odd is happening to all of the women. I think (though I had some trouble hearing and following) their genitals are falling off, rendering sex a little difficult. The patois was similar to Persaud’s Trini, and, like little scratch, this is a circadian novel. It made me think of the descriptions of Monique Roffey’s books. I found the premise a little silly, though. This is unlike to draw in those suspicious of magic realism.
If I had to pick just one? I’m going to request a proof copy of little scratch. And my library system has two copies, so I’ll also place a hold and try to read Love After Love soon (though before the end of the year now looks doubtful). It helped that these two authors gave the best readings.
I was a veritable social butterfly this past week: I went out two evenings in a row! (Believe me, that’s rare.) On Tuesday I met up with bloggers Annabel, Eric and Kim at the Faber Spring Party held at Crypt on the Green in London, and on Wednesday my husband and I attended a performance at the University of Reading of Michael Mears’s one-man play on the plight of Britain’s conscientious objectors during World War I, This Evil Thing.
Faber Spring Party
I’ve never been to an event quite like this. Publisher Faber & Faber, which will be celebrating its 90th birthday in 2019, previewed its major releases through to September. Most of the attendees seemed to be booksellers and publishing insiders. Drinks were on a buffet table at the back; books were on a buffet table along the side. Glass of champagne in hand, it was time to plunder the free books on offer. I ended up taking one of everything, with the exception of Rachel Cusk’s trilogy: I couldn’t make it through Outline and am not keen enough on her writing to get an advanced copy of Kudos, but figured I might give her another try with the middle book, Transit.
For the evening’s presentation, each featured author had a few minutes to introduce their new book and/or give a short reading.
Rachel Cusk opened the evening with a reading from Kudos. If you’re familiar with her recent work, you won’t be surprised at this synopsis: a man on a plane recounts having his dog put to sleep. (Out on May 3rd.)
William Atkins’s book on deserts, The Immeasurable World, is based on three years of travel and is, he is not ashamed to say, in the old-fashioned travel writing tradition. (Out on June 7th.)
Hannah Sullivan’s Three Poems is a hybrid work of poem-essays. #2 is more philosophical, she said; #3 is about her father’s death and her son’s birth. She read sonnet 3.21. (Out now.)
Clémentine Beauvais’s In Paris with You is a YA romance in free verse, loosely based on Eugene Onegin. I don’t know the source text but started this on the train ride home and it’s enjoyable thus far. I’m in awe at how translator Sam Taylor has taken the French of her Songe à la douceur and turned it into English poetry. (Out on June 7th.)
Chris Power’s Mothers is a book of linked short stories, three of which are about a character named Eva. He read a portion of a story about her having an encounter with an unpleasant man in Innsbruck. (Out on March 1st.)
Elise Valmorbida’s The Madonna of the Mountains, set in 1923–50, is a saga that resembles “an Italian Mother Courage,” she says. She read a scene in which a character comes across a madwoman. (Out on April 5th.)
Zaffar Kunial read the poem “Spark Hill” from his forthcoming collection Us. It’s about a childhood fight in the area of Birmingham where he grew up. He had a folder open in front of him but, impressively, recited the long poem completely from memory. (Out on July 5th.)
American novelist Benjamin Markovits was a professional basketball player in Germany for six months. Like the tennis-playing protagonist of his upcoming book, A Weekend in New York, he got tired of being measured. After 15 years, his hero is eager to escape a life of being constantly ranked. This is the first in a quartet of novels that inevitably invites comparison with John Updike’s “Rabbit” books. (Out on June 7th.)
I confess I didn’t previously know the name Viv Albertine; she was the guitarist for the female punk band The Slits, and To Throw Away Unopened is her second memoir. Albertine realized that it was her mother who had made her an angry rebel; the title is the label on a bag she found in her mother’s room after her death. (Out on April 5th.)
Sophie Collins incorporates hybrid forms in her poetry – what she calls “lyric essays.” The theme of her book Who Is Mary Sue? is perceptions of women’s writing (with “Mary Sue” as a metonym for the stereotypical good girl). She read from “Engine.” (Out now.)
Katharine Kilalea’s debut novel Ok, Mr Field is about an injured concert pianist who becomes obsessed with a house he buys in South Africa. (Out on June 7th.)
Elizabeth Foley and Beth Coates are the authors of two Homework for Grown-Ups books. Their new book, What Would Boudicca Do?, is about lessons we can draw from the women of history. For instance, the sampler booklet has pieces called “Dorothy Parker and Handling Jerks” and “Frida Kahlo and Finding Your Style.” There’s a heck of a lot of books like this out this year, though, and I’m not so sure this one will stand out. (Out on September 6th.)
Richard Scott read two amazingly intimate poems from his upcoming collection, Soho. One, “cover-boys,” was about top-shelf gay porn; the other was about mutilated sculptures of male bodies in the Athens archaeological museum. If you appreciated Andrew McMillan’s Physical, you need to get hold of this the second it comes out. I went back and read “cover-boys” in the sampler booklet and it wasn’t nearly as powerful as it was aloud; Scott’s reading really brought it to life, in contrast to some other authors’ dull delivery. (Out on April 5th.)
Sue Prideaux’s forthcoming biography of Friedrich Nietzsche is entitled I Am Dynamite! She encountered her subject when she wrote her first biography, of Edvard Munch. Although Nietzsche has been embraced by far-right groups in America, he was in fact against racism, nationalism, and anti-semitism, so he has important messages for us today. I’ll be keen to get hold of this one. (Out on September 6th.)
Guitar in hand, Willy Vlautin closed the evening with a performance of the title track from the soundtrack album to his fifth novel, Don’t Skip Out on Me – he was the singer in Portland, Oregon alt-country band Richmond Fontaine, which has recently stopped touring. He said the novel asks, “can you make the scars of broken people bearable?” (Out now.)
Now that I’ve got this terrific stack of books, wherever do I start?! I’m currently reading the Beauvais; from there I’ll focus on ones that have already been released, starting with Vlautin and the two poetry collections. The titles that aren’t out until June can probably wait – though it’s tempting to be one of the privileged few who get to read them nearly four months early. One Faber book per week should see me getting through all these by the final release date.
This Evil Thing
Michael Mears plays about 50 different characters in this one-man production. He’s an actor and pacifist who has written a number of solo pieces over 20 years. In this commemorative year of the end of the First World War, he knew we would hear a lot about battles, soldiers, and their families back home. But conscientious objectors weren’t likely to be remembered: theirs is a “story that’s rarely told,” he realized. This Evil Thing sets out to correct that omission. The title phrase refers not to war in general but specifically to conscription.
The two main characters Mears keeps coming back to in the course of the play are Bert Brocklesby, a Yorkshire preacher, and philosopher Bertrand Russell. Brocklesby refused to fight and, when he and other COs were shipped off to France anyway, resisted doing any work that supported the war effort, even peeling the potatoes that would be fed to soldiers. He and his fellow COs were beaten, placed in solitary confinement, and threatened with execution. Meanwhile, Russell and others in the No-Conscription Fellowship fought for their rights back in London. There’s a wonderful scene in the play where Russell, clad in nothing but a towel after a skinny dip, pleads with Prime Minister Asquith.
As in solo shows I’ve seen before (e.g. A Christmas Carol with Patrick Stewart), Mears had to find subtle ways to distinguish between characters: he used a myriad different voices, including regional accents; he quickly donned a jacket, hat, or pair of glasses. Russell was identified by his ever-present pipe. The most challenging scene, Mears said in the Q&A at the end, was one with four characters in a French street café.
Mears reveals during the play that his grandfather fought in WWI and his father in WWII, but he has never had to put his own pacifist views to the test. What about Hitler? people always ask. Mears is honest and humble enough to admit that he doesn’t know what he would have done had he been called on to fight Hitler, or had he faced persecution as a CO in WWI. Ultimately, what Mears hopes audiences take from his play, which won acclaim at the Edinburgh Festival Fringe, is that “this is not an irrelevant piece of history.” Standing up for what you believe in, especially if it goes against the spirit of the times, is always valuable.