Tomorrow, the 20th, the Man Booker Prize shortlist will be announced. This must be my worst showing for many years: I’ve read just two of the longlisted books, and both were such disappointments I had to wonder why they’d been nominated at all. I have six of the others on request from the public library; of them I’m most keen to read The Overstory and Sabrina, the first graphic novel to have been recognized (the others are by Gunaratne, Johnson, Kushner and Ryan, but I’ll likely cancel my holds if they don’t make the shortlist). I’d read Robin Robertson’s novel-in-verse if I ever managed to get hold of a copy, but I’ve decided I’m not interested in the other four nominees (Bauer, Burns, Edugyan, Ondaatje*).
The Water Cure by Sophie Mackintosh
(Excerpted from my upcoming review for New Books magazine’s Booker Prize roundup.)
The first word of The Water Cure may be “Once,” but what follows is no fairy tale. Here’s the rest of that sentence: “Once we have a father, but our father dies without us noticing.” The tense seems all wrong; surely it should be “had” and “died”? From the very first line, then, Sophie Mackintosh’s debut novel has the reader wrong-footed, and there are many more moments of confusion to come. The other thing to notice in the opening sentence is the use of the first person plural. That “we” refers to three sisters: Grace, Lia and Sky. After the death of their father, King, it’s just them and their mother in a grand house on a remote island.
There are frequent flashbacks to times when damaged women used to come here for therapy that sounds more like torture. The sisters still engage in similar sadomasochistic practices: sitting in a hot sauna until they faint, putting their hands and feet in buckets of ice, and playing the “drowning game” in the pool by putting on a dress laced with lead weights. Despite their isolation, the sisters are still affected by the world at large. At the end of Part I, three shipwrecked men wash up on shore and request sanctuary. The men represent new temptations and a threat to the sisters’ comfort zone.
This is a strange and disorienting book. The atmosphere – lonely and lowering – is the best thing about it. Its setup is somewhat reminiscent of two Shakespeare plays, King Lear and The Tempest. With the exception of a few lines like “we look towards the rounded glow of the horizon, the air peach-ripe with toxicity,” the prose draws attention to itself in a bad way: it’s consciously literary and overwritten. In terms of the plot, it is difficult to understand, at the most basic level, what is going on and why. Speculative novels with themes of women’s repression are a dime a dozen nowadays, and the interested reader will find a better example than this one.
Normal People by Sally Rooney
Conversations with Friends was one of last year’s sleeper hits and a surprise favorite of mine. You may remember that I was part of an official shadow panel for the 2017 Sunday Times Young Writer of the Year Award, which I was pleased to see Sally Rooney win. So I jumped at the chance to read her follow-up novel, which has been earning high praise from critics and ordinary readers alike as being even better than her debut. Alas, though, I was let down.
Normal People is very similar to Tender – which for some will be high praise indeed, though I never managed to finish Belinda McKeon’s novel – in that both realistically address the intimacy between a young woman and a young man during their university days and draw class and town-and-country distinctions (the latter of which might not mean much to those who are unfamiliar with Ireland).
The central characters here are two loners: Marianne Sheridan, who lives in a white mansion with her distant mother and sadistic older brother Alan, and Connell Waldron, whose single mother cleans Marianne’s house. Connell doesn’t know who his father is; Marianne’s father died when she was 13, but good riddance – he hit her and her mother. Marianne and Connell start hooking up during high school in Carricklea, but Connell keeps their relationship a secret because Marianne is perceived as strange and unpopular. At Trinity College Dublin they struggle to fit in and keep falling into bed with each other even though they’re technically seeing other people.
The novel, which takes place between 2011 and 2015, keeps going back and forth in time by weeks or months, jumping forward and then filling in the intervening time with flashbacks. I kept waiting for more to happen, skimming ahead to see if there would be anything more to it than drunken college parties and frank sex scenes. The answer is: not really; that’s mostly what the book is composed of.
I can see what Rooney is trying to do here (she makes it plain in the next-to-last paragraph): to show how one temporary, almost accidental relationship can change the partners for the better, giving Connell the impetus to pursue writing and Marianne the confidence to believe she is loveable, just like ‘normal people’. It is appealing to see into these characters’ heads and compare what they think of themselves and each other with their awareness of what others think. But page to page it is pretty tedious, and fairly unsubtle.
I was interested to learn that Rooney was writing this at the same time as Conversations, and initially intended it to be short stories. It’s possible I would have appreciated it more in that form.
My thanks to Faber & Faber for the free copy for review.
*I’ve only ever read the memoir Running in the Family plus a poetry collection by Ondaatje. I have a copy of The English Patient on the shelf and have felt guilty for years about not reading it, especially after it won the “Golden Booker” this past summer (see Annabel’s report on the ceremony). I had grand plans of reading all the Booker winners on my shelf – also including Carey and Keneally – in advance of the 50th anniversary celebrations, but didn’t even make it through the books I started by the two South African winners; my aborted mini-reviews are part of the Shiny New Books coverage here. (There are also excerpts from my reviews of Bring Up the Bodies, The Sellout and Lincoln in the Bardohere.)
Last year I’d read enough from the Booker longlist to make predictions and a wish list, but this year I have no clue. I’ll just have a look at the shortlist tomorrow and see if any of the remaining contenders appeal.
What have you managed to read from the Booker longlist? Do you have any predictions for the shortlist?
The choices below are in alphabetical order by author, with any previously published reviews linked in (many of these books have already appeared on the blog in some way over the course of the year). You know the drill by now: to keep it simple for myself as well as for all of you who are figuring out whether you’re interested in these books or not, I’m limiting myself to two sentences per title. The first is a potted summary; the second tells you why you should read it. Across these three best-of posts (see also my Top Nonfiction and Best Fiction posts), I’ve spotlighted roughly the top 15% of my year’s reading.
As a God Might Be by Neil Griffiths: The themes and central characters were strong enough to keep me powering through this 600-page novel of ideas about encounters with God and the nature of evil. This turned out to be just my sort of book: big and brazen, a deep well of thought that will only give up its deeper meanings upon discussion and repeat readings.
Spaceman of Bohemia by Jaroslav Kalfař: The story of Jakub Procházka, a Czech astronaut who leaves his wife behind to undertake a noble research mission but soon realizes he can never escape his family history or the hazards of his own mind. A terrific blend of the past and the futuristic, Earth and space.
English Animals by Laura Kaye: A young Slovakian becomes a housekeeper for a volatile English couple and discovers a talent for taxidermy. A fresh take on themes of art, sex, violence and belonging, this is one of the more striking debut novels I’ve encountered in recent years.
Goodbye, Vitamin by Rachel Khong: Reeling from a broken engagement, Ruth Young returns to her childhood home in California for a year to help look after her father, who has Alzheimer’s. This is a delightfully quirky little book, but you may well read it with a lump in your throat, too.
Midwinter Break by Bernard MacLaverty: In MacLaverty’s quietly beautiful fifth novel, a retired couple faces up to past trauma and present incompatibility during a short vacation in Amsterdam. My overall response was one of admiration for what this couple has survived and sympathy for their current situation – with hope that they’ll make it through this, too. (Reviewed for BookBrowse.)
Conversations with Friends by Sally Rooney: An Irish college student navigates friendships and an affair with a married man. This is much more about universals than it is about particulars: realizing you’re stuck with yourself, exploring your sexuality and discovering sex is its own kind of conversation, and deciding whether ‘niceness’ is really the same as morality; a book I was surprised to love, but love it I did.
Lincoln in the Bardo by George Saunders: The residents of Georgetown cemetery limbo don’t know they’re dead – or at least won’t accept it. An entertaining and truly original treatment of life’s transience; I know it’s on every other best-of-year list out there, but it really is a must-read.
The Smell of Fresh Rainby Barney Shaw: Shaw travels through space, time and literature as he asks why we don’t have the vocabulary to talk about the smells we encounter every day. If you’re interested in exploring connections between smell and memory, discovering what makes the human sense of smell unique, and learning some wine-tasting-style tips for describing odors, this is a perfect introduction.
A Life of My Own by Claire Tomalin: Tomalin is best known as a biographer of literary figures including Mary Wollstonecraft, Samuel Pepys and Charles Dickens, but her memoir is especially revealing about the social and cultural history of the earlier decades her life covers. A dignified but slightly aloof book – well worth reading for anyone interested in spending time in London’s world of letters in the second half of the twentieth century.
Sing, Unburied, Sing by Jesmyn Ward: The story of a mixed-race family haunted – both literally and figuratively – by the effects of racism, drug abuse and incarceration in Bois Sauvage, a fictional Mississippi town. Beautiful language; perfect for fans of Toni Morrison and Cynthia Bond.
I’ve really struggled with short stories this year, but here are four collections I can wholeheartedly recommend:
What It Means when a Man Falls from the Sky by Lesley Nneka Arimah (Reviewed for Shiny New Books.)
The Great Profundo and Other Stories by Bernard MacLaverty (1987)
The Best 2017 Books You Probably Never Heard of (Unless You Heard about Them from Me!):
The Education of a Coroner by John Bateson: The coroner’s career is eventful no matter what, but Marin County, California has its fair share of special interest, what with Golden Gate Bridge suicides, misdeeds at San Quentin Prison, and various cases involving celebrities (e.g. Harvey Milk, Jerry Garcia and Tupac) in addition to your everyday sordid homicides. Ken Holmes was a death investigator and coroner in Marin County for 36 years; Bateson successfully recreates Holmes’ cases with plenty of (sometimes gory) details.
Cork Dork by Bianca Bosker: Tasting notes: gleeful, ebullient, learned, self-deprecating; suggested pairings: Sweetbitter by Stephanie Danler; Top Chef, The Great British Bake Off. A delightful blend of science, memoir and encounters with people who are deadly serious about wine.
A Paris All Your Own: Bestselling Women Writers on the City of Light, edited by Eleanor Brown: A highly enjoyable set of 18 autobiographical essays that celebrate what’s wonderful about the place but also acknowledge disillusionment; highlights are from Maggie Shipstead, Paula McLain, Therese Anne Fowler, Jennifer Coburn, Julie Powell and Michelle Gable. If you have a special love for Paris, have always wanted to visit, or just enjoy armchair traveling, this collection won’t disappoint you.
Ashland & Vine by John Burnside: Essentially, it’s about the American story, individual American stories, and how these are constructed out of the chaos and violence of the past – all filtered through a random friendship that forms between a film student and an older woman in the Midwest. This captivated me from the first page.
Tragic Shores: A Memoir of Dark Travel, Thomas H. Cook: In 28 non-chronological chapters, Cook documents journeys he’s made to places associated with war, massacres, doomed lovers, suicides and other evidence of human suffering. This is by no means your average travel book and it won’t suit those who seek high adventure and/or tropical escapism; instead, it’s a meditative and often melancholy picture of humanity at its best and worst. (Reviewed for Nudge.)
The Valentine House by Emma Henderson: This is a highly enjoyable family saga set mostly between 1914 and 1976 at an English clan’s summer chalet in the French Alps near Geneva, with events seen from the perspective of a local servant girl. You can really imagine yourself into all the mountain scenes and the book moves quickly –a great one to take on vacation.
Various Superlatives, Good and Bad:
The 2017 Book Everybody Else Loved but I Didn’t: Eleanor Oliphant Is Completely Fine by Gail Honeyman. (See my Goodreads review for why.)
The Year’s Biggest Disappointments: All Grown Up by Jami Attenberg, Future Home of the Living God by Louise Erdrich, Between Them by Richard Ford and George and Lizzie by Nancy Pearl.
The Worst Book I Read This Year: Books by Charlie Hill (ironic, that). My only one-star review of the year.
The Downright Strangest Book I Read This Year: An English Guide to Birdwatching by Nicholas Royle.
My Best Discoveries of the Year: Beryl Bainbridge, Saul Bellow, Bernard MacLaverty and Haruki Murakami. I’ve read two books by each of these authors this year and look forward to trying more from them.
The Debut Authors Whose Next Work I’m Most Looking Forward to: Lesley Nneka Arimah, Laura Kaye, Carmen Marcus, Julianne Pachico and Sally Rooney.
The Best First Line of the Year: “History has failed us, but no matter.” (Pachinko, Min Jin Lee)
The Best Last Line of the Year: “If she was an instance of the goodness in this world then passing through by her side was miracle enough.” (Midwinter Break, Bernard MacLaverty)
Coming tomorrow: Some early recommendations for 2018.
I asked Carolyn Oliver of Rosemary & Reading Glasses for her top fiction picks from 2017 and she came up with this list of 13 cracking recommendations. I doubt you’ll be able to resist adding at least one of these to your TBR.
Best 2017 Fiction: A Baker’s Dozen
These were my favorite works of fiction published (in the United States) in 2017, listed in the order I read them. One caveat: as I write this, there are 22 days left in 2017, so I may find another favorite; there are some heavy hitters (Jesmyn Ward’s Sing, Unburied, Sing comes to mind) that haven’t found their way to my nightstand yet.
Human Acts, Han Kang: I admit, this book, which traces the human costs of the brutally repressed Gwanju Uprising, is difficult to read. Worth the effort, though, for its urgent questions about the nature of humanity.
Pachinko, Min Jin Lee: A twentieth-century family saga about Korean immigrants in Japan. Expansive and richly textured.
The Essex Serpent, Sarah Perry: A recently widowed natural historian and a village curate spar over rumors of a returned prehistoric serpent. Sumptuous.
Lincoln in the Bardo, George Saunders: The resident ghosts look on with consternation as Abraham Lincoln visits their cemetery to mourn over the body of his son, Willie. Polyphonic; extraordinarily moving.
The Wanderers, Meg Howrey: Three astronauts undertake a long-term simulation of a mission to Mars, leaving their loved ones behind. Wonderful literary sci-fi, absorbing in its physical and psychological detail.
Exit West, Mohsin Hamid: Two young lovers become part of a global migration through mysterious doors that connect locations all over the world. Intimate and tender.
My Darling Detective, Howard Norman: A tale of family secrets set in 1970s Halifax, featuring plainspoken people and delightful use of radio drama. From my review: “noir with a spring in its step and a lilt in its voice.”
Days Without End, Sebastian Barry: Irish immigrant Thomas McNulty chronicles his survival in the American West (and the Civil War) and his love for fellow soldier John Cole. Fearsomely beautiful.
The Mountain, Paul Yoon: Six exquisite short stories, set in different locations over the past 100 years, from a master of the form.
The Stone Sky, N. K. Jemisin: The blistering final book in Ms. Jemisin’s stunning Broken Earth trilogy (must be read in order, so start with The Fifth Season if you’re new to the series). Superb speculative fiction.
Little Fires Everywhere, Celeste Ng: The complexities of race, class, and motherhood swirl in a Cleveland suburb (my hometown) in this deft, compassionate novel.
Her Body and Other Parties, Carmen Maria Machado: Short stories grounded in the body but shot through with elements of horror and fantasy. Won’t take it easy on you, but you won’t want to stop reading, either. Brilliant.
The Power, Naomi Alderman: Women harness a power within themselves that turns the tables on men. Atwoodian dystopia at its finest.
The 11 stories in Jennifer Caloyeras’ new collection, Unruly Creatures (released on October 3rd by West Virginia University Press), feature characters who find themselves in extreme situations and/or are let down by their bodies. Often, their tentative steps outside their own problematic situations involve making unexpected connections with the animal world: a neglected boy learns from a taxidermist, a trainer at the Institute for Privileged Primates is surprised by the depth of her feelings for one of the gorillas in her care, a woman who has just had a double mastectomy empathizes with a cow stuck in the crater left by a crashed meteor, and two teens realize they can only bond with their father when in animal costumes.
I appreciated the variety of forms and voices here. One story set in a dystopian future has an epistolary element, including letters and memos; two others use second-person or first-person plural narration, respectively. There’s also a lot to think about in terms of gender. For instance, one protagonist frets about out-of-control pubic hair, while another finds it difficult to maintain her trans identity on a male prison ward. “A Real Live Baby” was a stand-out for me. Its title is a tease, though, because Chloe is doing the Egg Baby project in school and ‘babysits’ for her delusional neighbor, who keeps a doll in a stroller. The conflation of dolls and babies is also an element in recent stories by Camilla Grudova and Lesley Nneka Arimah – proof, if we needed it, that modern motherhood is both an enigma and a work in progress.
I’d recommend this story collection to readers of Margaret Atwood and Karen Joy Fowler – and to book clubs. You certainly won’t run out of things to discuss!
Jennifer kindly offered to take part in a Q&A over e-mail. We talked about eco-lit, fairy tales gone wild, and how writing and marketing short stories is different from novels.
Animals take on a variety of roles in these stories: research subjects, art projects, friends. Are you an animal lover? Or was that linking theme incidental? And what did you hope to convey about the ways the human and animal worlds intersect?
I am an animal lover. I always have been. When I was younger I really wanted to be a marine biologist. I couldn’t quite get around the math. Then for a while, I thought, animal psychologist. I’ve always been obsessed with animals and animal behavior and the ways in which humans are constantly distancing themselves from animals and their behavior. We have a bit of an unfair superiority complex when it comes to the animal world. I ended up going down an entirely different path (musician and singer) before applying to graduate school for a MA in English and then a MFA in creative writing.
But to get back to your question, I didn’t set out to write a collection of linked animal stories; that ended up happening organically. I like to use animals as a mirror or lens through which we see ourselves: sometimes at our worst, most instinctive behavior – sometimes at our best. I think an apt metaphor is that of child staring at an animal at a cage in the zoo, internalizing the thought, “I am nothing like that animal. I am everything like that animal.”
Sometimes the humans are the truly unruly creatures – thinking especially of the obnoxious plane passenger in “Airborne” and Ernest, the persnickety postman in “Big Brother.” How does placing them alongside animal characters point up their flaws?
I am a huge fan of unlikable and unreliable narrators. And I think the short story genre lends itself to utilizing these types of narrators, because you don’t have to sustain this for the duration of an entire novel. In “Big Brother”, the reader aligns with everyone else in the story, not the protagonist. Ernest can’t get over the fact that Les, his co-worker, could have such a bond with a parrot, when Ernest has such a difficult time connecting with anyone, yet in the same story, Ernest’s earnest love for his dog is apparent. He has the key to connecting with people, he just doesn’t have the means to put this knowledge to use.
“H2O” imagines a future extreme drought situation in which only the elite can afford fresh water. Does this feel like a plausible scenario, especially where you live in California?
Oh, the water situation is really scary. I don’t think we’re far off from the scenario presented in this story. It’s always absurd to me when we hear about drought conditions and yet, here I am, driving by a huge verdant golf course. And the access for the wealthy in this particular story resonates in terms of access in general in a capitalistic society. In the story, which is a sort of eco-lit satire (I think I just made up that genre), water is the most coveted commodity, yet it’s marketed differently depending on economic status. Living in Los Angeles, there seems to be a production value to everything here, so I wanted to add that twist in the story – the commercialism of a commodity – how it would be talked about on a production set. How to do the perfect “hard sell” when it comes to water.
I especially love the fairy tale-gone-wild mood of “Unruly”: Caroline loathes the Rapunzel-like abundance of her pubic hair, and instead of a glass slipper we get glass shards in Tom’s arm. How does twisting a fairy tale play with readers’ expectations for a story?
I’ve always been obsessed with fairy tales. My second young adult novel, Strays, has a whole component where a high school English teacher introduces 16-year-old Iris, the protagonist, to Angela Carter’s The Bloody Chamber (if you’re a fairy tale fan, you have to read this one!), which is a feminist reinterpretation of fairy tales. I love how familiar all the fairy tale tropes are. I love the use of magical realism in fairy tales and I love the idea of playing with a familiar and predictable story and undercutting the reader’s expectations. To that end, I recently read (and loved) A. Igoni Barrett’s Blackass – which was a retelling of Kafka’s Metamorphosis. But instead of waking up as a cockroach, in this version – a black man in Lagos wakes up as a white man, afforded all of the benefits of white privilege. As a reader you’re thinking, “I know the story, but I don’t know this story.”
The story “Stuffed” was also inspired loosely by the fairy tale of Hansel and Gretel. The witch in the woods is replaced by a taxidermist (who is not evil) and instead, things with the child go dark pretty quickly.
Occasionally ersatz creatures are on display: doll babies, taxidermied animals, or animal costumes. What are we to make of that gulf between the real thing and the false one on display?
Surrogates are some of my favorite things to explore! I took a deep dive into the world of taxidermy while doing research for “Stuffed”. I really couldn’t get enough. I remember as a child getting lost for hours in the Hall of Mammals at the Natural History Museum in Los Angeles. I think, for me, it’s the idea of creating something to replace something, but the replacement is complete artifice. In terms of taxidermy, essentially, you are replacing death or recreating death to imitate life. A real dead animal is ugly, sunken, decayed. But we have these artists who take death, stuff it with synthetic material, replace eyeballs with beads and you have a recreation of an animal that sometimes looks better off than a live version of that animal. A lot of what is explored in these stories is a stripping down to raw human behavior. People hide behind the masks and costumes and artifice, but placed in certain situations, their animal instincts will always emerge.
[See also my review of the taxidermy-themed English Animals by Laura Kaye.]
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?
Titles always come last for me. Always. I can’t name a thing until I know what that thing is. Writing is such a process and oftentimes I won’t end up where I think I’m going when I’m writing a story. They always surprise me. “Unruly” (the story of the pubic-haired Rapunzel) came directly out of this vivid dream I had when I was pregnant with my first child. I dreamed that I was naked with long flowing hair everywhere and a squirrel came out of a tree, nipped off a chunk of my hair and ran back to her nest and wove the hair into the nest. I remember waking up hysterically laughing. In hindsight it was such an obvious fertility dream; for the sake of the story, I made it a representation of coming-of-age/adolescence – a time where one’s body feels out of control, but I took it to the next level.
“The Sound of an Infinite Gesture” came directly from Koko the signing gorilla. It’s amazing that a gorilla can use sign language and communicate, but there was also something odd about people putting these very human ideas on a gorilla (remember they got her a pet kitten? And now I see they have her signing PSAs to save the environment?), so I started ruminating on what if we took this idea further – the gorilla communicates so well with her trainer that they begin to develop intimate feelings for one another.
Stories will often come out of an article I read (how leeches are being used in modern medicine led to “Bloodletting”) or from a friend, “Hey, did you know that people go to furry parties where they dress up in costumes and hug one another?” which led to “Plush” and I start playing around with what that might look like. It’s a lot of imaginative play involved. That’s my favorite part of writing – that dreamy time before I actually sit down to type – when it’s all just floating around my head and I’m trying to make a movie of it in my mind.
You’ve previously written YA novels. How different was the experience of writing these short stories? Do you see this work finding a dissimilar audience?
Writing a short fiction collection is not for the faint of heart. I was actually shocked at how slim the collection looked when it arrived in the mail. I kept thinking, “but I did all that work!” Each story, in a way, is treated like a novel. And I’m not talking just about the structure from beginning to end. Every word in a short story is precious; you have to economize. And, in order to get momentum for the collection, you want to publish stories from the collection in literary journals, which takes the same amount of energy and query letters that sending out your novel to an agent or publisher takes!
The audience for this book is completely different than the 13–17 demographic of the two other books. I have had a few people say, “Oh I bought your latest book for my child” and I’m quick to say, “it’s not for kids!” But read at your own risk.
Who are some of your favorite writers? Who has inspired your prose style or your story strategies?
I have so many favorite writers! And I read across all genres. It’s hard to say exactly who has influenced my work, but I will share my favorites! I love Lorrie Moore’s Birds of America. I think she is the best at synthesizing humor and pathos in the same space. I strive to do this in my stories. Pastoralia by George Saunders is another favorite collection. He is a master storyteller, satirist, humorist and his stories bring me to my knees from emotion in unexpected ways. I love Aimee Bender’s use of magical realism. I recently read Ottessa Moshfegh’s Homesick for Another World and loved it! There are so many amazing and varied voices when it comes to contemporary short fiction! The faculty member I worked closely with at the University of British Columbia when I was working on my MFA in creative writing was the Giller-nominated writer, Zsuzsi Gartner. In addition to being an incredible writer herself, she opened up the world of endless possibilities in short fiction, which was incredibly liberating.
What are you working on next?
Last year, I was selected as the writer-in-residence at the Annenberg in Santa Monica and I began working on a contemporary novel about expectations and parenthood. I’m still working on it and hope to be finished by the beginning of the new year. (Now that it’s in writing, maybe I will be further motivated!) I was pretty sure that I was done with short fiction for a while, but then ideas started coming to me again, so it’s my job to listen.
I also teach writing at UCLA Extension’s Writers’ Program. I will be teaching a new course, “Writing the Young Adult Novel”, in the winter and my usual “Intro to Short Fiction” in the spring. The classes are online, so if any of your readers are interested, sign up!
I spend a good amount of my time editing and helping to develop manuscripts and stories for clients. So it’s a nice balance between writing, editing and teaching.
My father, screenwriter Ron Clark, and I are toying with starting a podcast. Stay tuned!
The Man Booker Prize 2017 will be announced this evening (roughly 22:00 GMT, in my memory). Ever since the shortlist announcement I’ve felt that George Saunders is a shoo-in for Lincoln in the Bardo. I think he will win, and should. However, I’ve still only read four out of the six on the shortlist, so my predictions are not entirely based on personal knowledge of the books. I can’t say I’m hugely enthused about trying Auster or Hamid, but I’d be more likely to do so if either won.
Here, in what I predict is their descending order of likelihood to win, are the six shortlisted titles, with a pithy three words on why each one would take the prize:
Lincoln in the Bardo by George Saunders – Something actually novel.
Exit West by Mohsin Hamid – Timely re: refugees.
Autumn by Ali Smith – Timely re: Brexit.
4 3 2 1 by Paul Auster – Great American Novel.
Elmet by Fiona Mozley – Gorgeous, talented debut.
History of Wolves by Emily Fridlund – Haunting, underrated debut.
What have you managed to read from the Booker shortlist? How do your predictions match up against mine?
On Wednesday the 13th the Man Booker Prize shortlist will be announced. I’d already reviewed six of the nominees and abandoned one; in the time since the longlist announcement I’ve only managed to read another one and a bit. That leaves four I didn’t get a chance to experience. Here’s a run-through of the 13 nominees, with my brief thoughts on each.
4 3 2 1 by Paul Auster (US) (Faber & Faber): I can’t see myself reading this one any time soon; I’ll choose a shorter work to be my first taste of Auster’s writing. I’ve heard mostly good reports, though.
Days Without End by Sebastian Barry (Ireland) (Faber & Faber): Read in March 2017. This is my overall favorite from the longlist so far. (See my BookBrowse review.) However, it’s already been recognized with the Costa Prize and the Walter Scott Prize for historical fiction, so if it doesn’t make the Booker shortlist I certainly won’t be crushed.
History of Wolves by Emily Fridlund (US) (Weidenfeld & Nicolson): Read in March 2017. A slow-building coming-of-age story with a child’s untimely death at its climax. Fridlund’s melancholy picture of outsiders whose skewed thinking leads them to transgress moral boundaries recalls Lauren Groff and Marilynne Robinson. (Reviewed for the Times Literary Supplement; )
Exit West by Mohsin Hamid (Pakistan-UK) (Hamish Hamilton): I don’t have much interest in reading this one at this point; I didn’t get far in the one book I tried by Hamid (The Reluctant Fundamentalist) earlier this year. I’ve encountered mixed reviews.
Solar Bones by Mike McCormack (Ireland) (Canongate): If you’ve heard anything about this, it’s probably that the entire book is composed of one sentence. Now here’s an embarrassing admission: I didn’t make it past the first page.
Reservoir 13 by Jon McGregor (UK) (4th Estate): I read the first 15% last month and set it aside. I knew what to expect – lovely descriptions of the natural world and the daily life of a small community – but I guess hadn’t fully heeded the warning that nothing much happens. I won’t rule out trying this one again in the future, but for now it couldn’t hold my interest.
Elmet by Fiona Mozley (UK) (JM Originals): Read in August 2017. Simply terrific. (See my full blog review.) Overall, this dark horse selection is in second place for me. I’d love to see it make it through to the shortlist.
The Ministry of Utmost Happiness by Arundhati Roy (India) (Hamish Hamilton): I was never a huge fan of The God of Small Things, so this is another I’m not too keen to try.
Lincoln in the Bardo by George Saunders (US) (Bloomsbury Publishing): Read in April 2017. An entertaining and original treatment of life’s transience. I enjoyed the different registers Saunders uses for his characters, but was less convinced about snippets from historical texts. So audacious it deserves a shortlist spot; I wouldn’t mind it winning.
Home Fire by Kamila Shamsie (UK-Pakistan) (Bloomsbury Circus): This is the one book from the longlist that I most wish I’d gotten a chance to read. It’s been widely reviewed in the press as well as in the blogging world (A life in books, Elle Thinks, and Heavenali), generally very enthusiastically.
Autumn by Ali Smith (UK) (Hamish Hamilton): Read in November 2016. (See my blog review.) While some of Smith’s strengths benefit from immediacy – a nearly stream-of-consciousness style (no speech marks) and jokey dialogue – I’d prefer a more crafted narrative. In places this was repetitive, with the seasonal theme neither here nor there.
Swing Time by Zadie Smith (UK) (Hamish Hamilton): Read in October 2016 for a BookBrowse review. The Africa material wasn’t very convincing, and the Aimee subplot and the way Tracey turns out struck me as equally clichéd. The claustrophobic narration makes this feel insular. A disappointment compared to White Teeth and On Beauty.
The Underground Railroad by Colson Whitehead (US) (Fleet): Read in July 2017. (See my blog review.) I’m surprised such a case has been made for the uniqueness of this novel based on a simple tweak of the historical record. I felt little attachment to Cora and had to force myself to keep plodding through her story. Every critic on earth seems to love it, though.
If I had to take a guess at which six books will make it through Wednesday and why, I’d say:
4 3 2 1 by Paul Auster – A chunkster by a well-respected literary lion.
Exit West by Mohsin Hamid – A timely refugee theme and a touch of magic realism.
Solar Bones by Mike McCormack – Irish stream-of-consciousness. Channel James Joyce and you’ll impress all the literary types.
Lincoln in the Bardo by George Saunders – Effusive in tone and cutting-edge in form.
Autumn by Ali Smith – Captures the post-Brexit moment.
The Underground Railroad by Colson Whitehead – Though it’s won every prize going, the judges probably think they’d be churlish to pass it by.
By contrast, if I were asked for the six I would prefer to be on the shortlist, and why, it’d be:
Days Without End by Sebastian Barry – Pretty much unforgettable.
History of Wolves by Emily Fridlund – A haunting novel that deserves more attention.
Reservoir 13 by Jon McGregor – Though it’s not my personal favorite, I support McGregor.
Elmet by Fiona Mozley – A nearly flawless debut. Give the gal a chance.
Lincoln in the Bardo by George Saunders – Show-offy, but such fun to read.
Home Fire by Kamila Shamsie – Timely and well crafted, by all accounts.
That would be three men and three women, if not the best mix of countries. I’d be happy with that list.
What have you managed to read from the Booker longlist? How do your predictions match up against mine?
We had a wonderful time in Hay-on-Wye. The weather was gorgeous – which we never would have counted on in Wales in early April – and it was a treat to get out into the countryside. Even though there were road works on the main route through Hay and a house under construction across from our Airbnb property, it was so quiet most of the time. Most often we only heard sheep and pheasants in the fields or songbirds flitting around the garden. We’ve been back to normal life for a few days, but the contrast between Hay and our terraced street’s noisy neighbors and frequent car movement has remained stark. Also, I greatly enjoyed the time off work, and struggled to clear 200+ e-mails the day after we got back.
Early bargains came from the Oxfam charity shop (a box outside with paperbacks at 5 for £1, plus various nearly new copies at 99p each) and the ‘honesty’ shopping areas around the castle (50p paperbacks and £1 hardbacks). Each day my husband’s and my rival stacks kept growing.
In the end we purchased 41 books, averaging £1.48 each: 3 gifts (alas that we couldn’t do better in this respect) plus another 19 books each. All very equitable! My husband focused on nature and travel, including some rare and novelty insect books.
Some of my prize finds were a vintage copy of the next book in Doreen Tovey’s cat series, a copy of the Joyce Carol Oates novel I intend to make my introduction to her work, and Marilyn Johnson’s book on obituaries. As a bonus, three of the books I bought are ones I’ve already read: Vikram Seth’s travel book on China, How to Age from the School of Life series – a total bargain at 50p!, and Posy Simmonds’ Tamara Drewe, an update of Thomas Hardy’s Far from the Madding Crowd and one of the first graphic novels I ever read and loved.
Of course, I didn’t end up reading very much (or any) of many of the books I took with me. I glanced at TheRebecca Rioter, but didn’t find it at all interesting; I forgot to look at TheAirbnb Story; and I seem to be stuck fast just two chapters into Our Mutual Friend. On the other hand, I’ve been enjoying Bruce Chatwin’s On the Black Hill, of which I read over half, and I made good progress in George Saunders’s Lincoln in the Bardo.
It’s also been fun to browse Francis Kilvert’s diary entries from his years as the curate in nearby Clyro. In one of my favorite passages, he expresses horror at finding British tourists overrunning Llanthony Abbey ruins. For a minister, he certainly sounds like a misanthrope:
I had the satisfaction of managing to walk from Hay to Clyro by the fields without meeting a single person, always a great triumph to me and a subject for warm self congratulation for I have a peculiar dislike to meeting people, and a peculiar liking for a deserted road.
We went out to Llanthony for the first time on this trip, and paid Clyro’s church a visit, too.
Hay is much less shabby compared to our first visit. Many of the shops have been spruced up, and the pubs can’t get away with serving bog-standard fare anymore. A number of the newest eateries and entertainment venues are only open on weekends, so we’ll be sure to time our next trip to cover a Friday–Saturday. The town has even gained some hipster establishments, like a fair-trade shop and a coffee shop/vintage clothing emporium.
The Book Arts Trail was celebrating the 40 years of ‘independence’ of Richard Booth’s kingdom of Hay this year, and I expect we’ll still find the place going strong at 50.