As usual, I have a big backlog of 2021–22 releases I’m working my way through. I’ll get there eventually! Today I’m reporting on a poetry collection about English ancestry and wildlife, a vision of post-doubt Christian faith, and a set of essays on connection to nature, specifically flora. (I also take a brief look at some autofiction that didn’t work for me.)
Thorpeness by Alison Brackenbury (2022)
I’m familiar with Brackenbury from her appearance at New Networks for Nature in 2016 and her latest selected poems volume, Gallop. This, her tenth stand-alone collection, features abundant imagery of animals and the seasons, as in “Cucu” and “Postcard,” which marks the return of swifts. Alliteration is prominent, but there is also a handful of rhymes, like in “Fern.” Family history and the perhaps-idyllic rural underpin the verse set in Lincolnshire and Gloucestershire as Brackenbury searches for ancestral graves and delivers elegies.
I especially loved “Aunt Margaret’s Pudding,” a multipart poem about her grandmother’s life as a professional cook and then a mother of four, and “My Grandmother Waits for Christmas,” about a simple link between multiple generations’ Christmases: a sugar mouse. Caring for horses is another recurring theme; a 31-year-old blind pony receives a fond farewell.
There are also playful meetings between historical figures (“Purple Haze,” a dialogue between George Frideric Handel and Jimi Hendrix, who saw the composer’s ghost in their shared London home) and between past and contemporary, like “Thomas Hardy sends an email” (it opens “I need slide no confessions under doors”). “Charles Dickens at Home” was another favourite of mine. The title is the never-to-be-reached destination in the final poem, “Shingle.” A number of these poems were first broadcast on BBC Radio.
With thanks to Carcanet Press for the e-copy for review.
Faith after Doubt: Why Your Beliefs Stopped Working and What to Do about It by Brian McLaren (2021)
I’ve explained before how McLaren’s books were pivotal to my spiritual journey, even before I attended the church he founded in Maryland. (I’ve also reviewed his previous book, God Unbound). His progressive, environmentalist theology is perfect for continuing searchers like me. At one of last year’s online Church Times Festival events, I saw him introduce the schema that underpins this book. He proposes that the spiritual life (not just Christian) has four stages that may overlap or repeat: simplicity, complexity, perplexity and harmony. The first stage is for new zealots who draw us–them divisions and are most concerned with orthodoxy. In the second, practitioners are more concerned with practicalities: what works, what makes life better. Perplexity is provoked by cynicism about injustice and hypocrisy, while harmony moves beyond dualism and into connection with other people and with nature.
McLaren suggest that honest doubting, far from being a problem, might present an opportunity for changing in the right direction, getting us closer to the “revolutionary love” at the heart of the gospel. He shares stories from his own life, in and out of ministry, and from readers who have contacted him remotely or come up to him after events, caught in dilemmas about what they believe and whether they want to raise their children into religion. Though he’s fully aware of the environmental crisis and doesn’t offer false hope that we as a species will survive it, he isn’t ready to give up on religion; he believes that a faith seasoned by doubt and matured into an understanding of the harmony of all things can be part of a solution.
It’s possible some would find McLaren’s ideas formulaic and his prose repetitive. His point of view always draws me in and gives me much to think about. I’ve been stuck in perplexity for, ooh, 20 years? I frequently ask myself why I persist in going to church when it’s so boring and so often feels like a social club for stick-in-the-mud white people instead of a force for change. But books like this and Robin Wall Kimmerer’s Braiding Sweetgrass, my current soul food, encourage me to keep pursuing spiritual connection as a worthwhile path. I’ll be seeking out his forthcoming book (due out in May), Do I Stay Christian?, too.
Some favourite lines:
“only doubt can save the world. Only doubt will open a doorway out of hostile orthodoxies – whether religious, cultural, economic or political. Only through the difficult passage of doubt can we emerge into a new stage of faith and a new regenerative way of life. Everything depends on making this passage.”
“Among all the other things doubt is – loss, loneliness, crisis, doorway, descent, dissent [these are each the subject of individual chapters early on in the book] – it is also this: a crossroads. At the crossroads of doubt, we either become better or bitter. We either break down or break through. We become cynics or sages, hollow or holy. We choose love or despair.”
“Blessed are the wonderers, for they shall find what is wonderful. … Blessed are the doubters, for they shall see through false gods. Blessed are the lovers, for they shall see God everywhere.”
With thanks to Hodder & Stoughton for the free copy for review.
This Book Is a Plant: How to Grow, Learn and Radically Engage with the Natural World (2022)
This collection of new essays and excerpts from previously published volumes accompanies the upcoming Wellcome Collection exhibition Rooted Beings (a collaboration with La Casa Encendida, Madrid, it’s curated by Bárbara Rodríguez Muñoz and Emily Sargent and will run from 24 March to 29 August). The overarching theme is our connection with plants and fungi, and the ways in which they communicate. Some of the authors are known for their nature writing – there’s an excerpt from Merlin Sheldrake’s Entangled Life, Jessica J. Lee (author of Turning and Two Trees Make a Forest) contributes an essay on studying mosses, and a short section from Kimmerer’s Braiding Sweetgrass closes the book – while others are better known in other fields, like Susie Orbach and Abi Palmer (author of Sanatorium).
I especially enjoyed novelist Rowan Hisayo Buchanan’s “Wilder Flowers,” which is about landscape painting, balcony gardening in pots, and what’s pretty versus what’s actually good for nature. (Wildflowers aren’t the panacea we are sometimes sold.) I was also interested to learn about quinine, which comes from the fever tree, in Kim Walker and Nataly Allasi Canales’ “Bitter Barks.” Sheila Watt-Cloutier’s essay on the Western influence on Inuit communities in northern Canada, reprinted from Granta, is one of the best individual pieces – forceful and with a unique voice, it advocates reframing the climate change debate in terms of human rights as opposed to the economy – but has nothing to do with plants specifically. There are also a couple of pieces that go strangely mystical, such as one on plant metaphors in the Kama Sutra. So, a mixed bag that jumbles science, paganism and postcolonial thought, but if you haven’t already encountered the Kimmerer and Sheldrake (or, e.g., Rooted by Lyanda Lynn Haupt and Losing Eden by Lucy Jones) you might find this a good primer.
With thanks to Profile Books / Wellcome Collection for the free copy for review.
And one that really didn’t work for me; my apologies to the author and publisher.
I Love You but I’ve Chosen Darkness by Claire Vaye Watkins (2021)
What a letdown after Gold Fame Citrus, one of my favourite novels of 2015. I’d also read Watkins’s debut short story collection, Battleborn, which won the Dylan Thomas Prize. Despite the amazing title and promising setup – autofiction that reflects on postpartum depression and her Mojave Desert upbringing as a daughter of one of the Manson Family cult members – this is indulgent, misguided, and largely unreadable.
A writer named Claire Vaye Watkins flies to Nevada to give a lecture and leaves her husband and baby daughter behind – for good? To commemorate her mother Martha, who died of an opiate overdose, she reprints Martha’s 1970s letters, which are unspeakably boring. I feel like Watkins wanted to write a memoir but didn’t give herself permission to choose nonfiction, so tried to turn her character Claire’s bad behaviour into a feminist odyssey of sexual freedom and ended up writing such atrocious lines as the below:
“I mostly boinked millennial preparers of beverages and schlepped to book festivals to hook up with whatever adequate rando lurked at the end of my signing line. This was what our open marriage looked like”
“‘Psychedelics tend to find me when I need them,’ she said, sending a rush of my blood to my vulva.”
Her vagina dentata (a myth, or a real condition?!) becomes a bizarre symbol of female power and rage. I could only bear to skim this.
Some lines I liked:
Listen: I am a messenger from the future. I am you in ten years. Pay attention! Don’t fetishize marriage and babies. Don’t succumb to the axial tilt of monogamy! I don’t pretend to know the details of your…situation, but I guarantee you, you’re as free as you’ll ever be. Have sex with anyone you want. Enjoy the fact that it might happen any minute. You could have sex with a man, a woman, both—tonight!
I went from being raised by a pack of coyotes to a fellowship at Princeton where I sat next to John McPhee at a dinner and we talked about rocks and he wasn’t at all afraid of me.
With thanks to riverrun for the proof copy for review.
Would you be interested in reading one or more of these?
(20 Books of Summer #2) Lee’s quaint family memoir is set in the years immediately after World War I. He was born in 1914 and his childhood unfolded in Stroud, Gloucestershire and nearby village Slad. I started reading Cider with Rosie in April 2019 when we stopped in Stroud for a night on the way back from a holiday in Devon. I got through the first 100 pages quickly, with the voice reminding me slightly of Gerald Durrell’s in his autobiographical trilogy, but then set the book aside for over a year before picking it back up for this summer’s food- and drink-themed reading. Taking such a long break wasn’t a major problem because the book’s vignettes are thematically arranged, so there was no plot as such to lose track of.
Lee was part of his father’s second brood, born out of the widower’s remarriage to his housekeeper. His father left his new family after just a few years, and for the next three decades Lee’s mother dutifully waited for a return that never came. Lee was a sickly child, doted on by his older half-sisters. He was surrounded by a large wider family of brothers, eccentric war-veteran uncles and duelling elderly neighbors who lived one upstairs and one downstairs in a sort of granny annex attached to their untidy, rambling 17th-century stone house. The book depicts a village on the cusp of modernization: everything was still done with wagons and horses, but that was soon to change.
It’s a nostalgic, evocative look at a country childhood. Lee captures a bygone era, portraying himself as similarly on the precipice of losing innocence. The title comes from a late moment when Rosie Burdock tempts the adolescent Lee with alcoholic cider and kisses underneath a hay wagon. This penultimate chapter on the lust of the flesh takes an alarming turn as he describes the village boys’ planned gang rape of a religious 16-year-old, Lizzy. Lee was among the boys who followed her into the woods one Sunday after church. Luckily, they lost their nerve and nothing happened, but Lee’s blasé recounting felt out of keeping and somehow more dated than the rest of his material. It left a sourness I couldn’t get over.
Quintessentially English but not as purely delightful as I expected, this was still a book I valued for its characterization and its description of golden moments in memory.
Some favorite passages:
“Summer, June summer, with the green back on earth and the whole world unlocked and seething – like winter, it came suddenly and one knew it in bed, almost before waking up; with cuckoos and pigeons hollowing the woods since daylight and the chipping of tits in the pear-blossom.”
“Myself, my family, my generation, were born in a world of silence; a world of hard work and necessary patience, of backs bent to the ground, hands massaging the crops, of waiting on weather and growth; of villages like ships in the empty landscapes and the long walking distances between them; … [The horse’s] eight miles an hour was the limit of our movements, as it had been since the days of the Romans. That eight miles an hour was life and death, the size of our world, our prison.”
Source: Free bookshop
Ten more childhood memoirs:
A few I’ve written about here and prefer:
- Boy by Roald Dahl
- To the Is-land by Janet Frame
- Don’t Let’s Go to the Dogs Tonight by Alexandra Fuller
- Bookworm by Lucy Mangan
- Period Piece by Gwen Raverat
A couple of favorites I’ve never written up:
- Oleander, Jacaranda by Penelope Lively
- Hellfire and Herring by Christopher Rush
Plus a few that I haven’t liked quite as much:
April was something of a lackluster case for my two monthly challenges: two slightly disappointing books were partially read (and partially skimmed), and two more that promise to be more enjoyable were not finished in time to review in full.
Wise Blood by Flannery O’Connor (1952)
When Hazel Motes, newly released from the Army, arrives back in Tennessee, his priorities are to get a car and to get laid. In contrast to his preacher grandfather, “a waspish old man who had ridden over three counties with Jesus hidden in his head like a stinger,” he founds “The Church Without Christ.” Heaven, hell and sin are meaningless concepts for Haze; “I don’t have to run from anything because I don’t believe in anything,” he declares. But his vociferousness belies his professed indifference. He’s particularly invested in exposing Asa Hawkes, a preacher who vowed to blind himself, but things get complicated when Haze is seduced by Hawkes’s 15-year-old illegitimate daughter, Sabbath – and when his groupie, eighteen-year-old Enoch Emery, steals a shrunken head from the local museum and decides it’s just the new Jesus this anti-religion needs. O’Connor is known for her very violent and very Catholic vision of life. In a preface she refers to this, her debut, as a comic novel, but I found it bizarre and unpleasant and only skimmed the final two-thirds after reading the first 55 pages.
In progress: Cider with Rosie by Laurie Lee (1959) – I love to read ‘on location’ when I can, so this was a perfect book to start during a weekend when I visited Stroud, Gloucestershire for the first time.* Lee was born in Stroud and grew up there and in the neighboring village of Slad. I’m on page 65 and it’s been a wonderfully evocative look at a country childhood. The voice reminds me slightly of Gerald Durrell’s in his autobiographical trilogy.
*We spent one night in Stroud on our way home from a short holiday in Devon so that I could see The Bookshop Band and member Beth Porter’s other band, Marshes (formerly Beth Porter and The Availables) live at the Prince Albert pub. It was a terrific night of new songs and old favorites. I also got to pick up my copy of the new Marshes album, When the Lights Are Bright, which I supported via an Indiegogo campaign, directly from Beth.
The Resurrection of Joan Ashby by Cherise Wolas (2017)
Joan Ashby’s short story collection won a National Book Award when she was 21 and was a bestseller for a year; her second book, a linked story collection, was nominated for a Pulitzer Prize. In contravention of her childhood promise to devote herself to her art, she marries Martin Manning, an eye surgeon, and is soon a mother of two stuck in the Virginia suburbs. Two weeks before Daniel’s birth, she trashes a complete novel. Apart from a series of “Rare Babies” stories that never circulate outside the family, she doesn’t return to writing until both boys are in full-time schooling. When younger son Eric quits school at 13 to start a computer programming business, she shoves an entire novel in a box in the garage and forgets about it.
Queasy feelings of regret over birthing parasitic children – Daniel turns out to be a fellow writer (of sorts) whose decisions sap Joan’s strength – fuel the strong Part I, which reminded me somewhat of Doris Lessing’s The Golden Notebook in that the protagonist is trying, and mostly failing, to reconcile the different parts of her identity. However, this debut novel is indulgently long, and I lost interest by Part III, in which Joan travels to Dharamshala, India to reassess her relationships and career. I skimmed most of the last 200 pages, and also skipped pretty much all of the multi-page excerpts from Joan’s fiction. At a certain point it became hard to sympathize with Joan’s decisions, and the narration grew overblown (“arc of tragedy,” “tortured irony,” etc.) [Read instead: Forty Rooms by Olga Grushin]
Page count: 523
In progress: Mary Ann Sate, Imbecile by Alice Jolly, a 613-page historical novel in verse narrated by a semi-literate servant from Stroud, then a cloth mill town. I’d already committed to read it for a Nudge/New Books magazine review, having had my interest redoubled by its shortlisting for the Rathbones Folio Prize, but it was another perfect choice for a weekend that involved a visit to that part of Gloucestershire. Once you’re in the zone, and so long as you can guarantee no distractions, this is actually a pretty quick read. I easily got through the first 75 pages in a couple of days.
Next month’s plan: As a doorstopper Annabel and I are going to read The Amazing Adventures of Kavalier & Clay by Michael Chabon (636 pages, or roughly 20 pages a day for the whole month of May). Join us if you like! I’m undecided about a classic, but might choose between George Eliot, William Faulkner, Robert Louis Stevenson and Emile Zola.