Book Serendipity, March to April 2022
This is a bimonthly feature of mine. I call it Book Serendipity when two or more books that I read at the same time or in quick succession have something in common – the more bizarre, the better. Because I usually 20–30 books on the go at once, I suppose I’m more prone to such incidents. The following are in roughly chronological order.
(I always like hearing about your bookish coincidences, too! Laura had what she thought must be the ultimate Book Serendipity when she reviewed two novels with the same setup: Groundskeeping by Lee Cole and Last Resort by Andrew Lipstein.)
- The same sans serif font is on Sea State by Tabitha Lasley and Lean Fall Stand by Jon McGregor – both released by 4th Estate. I never would have noticed had they not ended up next to each other in my stack one day. (Then a font-alike showed up in my TBR pile, this time from different publishers, later on: What Strange Paradise by Omar El Akkad and When We Were Birds by Ayanna Lloyd Banwo.)
- Kraftwerk is mentioned in The Facebook of the Dead by Valerie Laws and How High We Go in the Dark by Sequoia Nagamatsu.
- The fact that bacteria sometimes form biofilms is mentioned in Hybrid Humans by Harry Parker and Slime by Susanne Wedlich.
- The idea that when someone dies, it’s like a library burning is repeated in The Reactor by Nick Blackburn and In the River of Songs by Susan Jackson.
- Espresso martinis are consumed in If Not for You by Georgina Lucas and Wahala by Nikki May.
- Prosthetic limbs turn up in Groundskeeping by Lee Cole, The Book of Form and Emptiness by Ruth Ozeki, and Hybrid Humans by Harry Parker.
- A character incurs a bad cut to the palm of the hand in After You’d Gone by Maggie O’Farrell and The Book of Form and Emptiness by Ruth Ozeki – I read the two scenes on the same day.
- Catfish is on the menu in Groundskeeping by Lee Cole and in one story of Antipodes by Holly Goddard Jones.
Reading two novels with “Paradise” in the title (and as the last word) at the same time: Paradise by Toni Morrison and To Paradise by Hanya Yanagihara.
- Reading two books by a Davidson at once: Damnation Spring by Ash and Tracks by Robyn.
- There’s a character named Elwin in The Five Wounds by Kirstin Valdez Quade and one called Elvin in The Two Lives of Sara by Catherine Adel West.
- Tea is served with lemon in The Beginning of Spring by Penelope Fitzgerald and The Two Lives of Sara by Catherine Adel West.
- There’s a Florence (or Flo) in Go Tell It on the Mountain by James Baldwin, These Days by Lucy Caldwell and Pictures from an Institution by Randall Jarrell. (Not to mention a Flora in The Sentence by Louise Erdrich.)
There’s a hoarder character in Olga Dies Dreaming by Xóchitl González and The Book of Form and Emptiness by Ruth Ozeki.
- Reading at the same time two memoirs by New Yorker writers releasing within two weeks of each other (in the UK at least) and blurbed by Jia Tolentino: Home/Land by Rebecca Mead and Lost & Found by Kathryn Schulz.
- Three children play in a graveyard in Falling Angels by Tracy Chevalier and Build Your House Around My Body by Violet Kupersmith.
- Shalimar perfume is worn in These Days by Lucy Caldwell and The Five Wounds by Kirstin Valdez Quade.
- A relative is described as “very cold” and it’s wondered what made her that way in Very Cold People by Sarah Manguso and one of the testimonies in Regrets of the Dying by Georgina Scull.
Cherie Dimaline’s Empire of Wild is mentioned in The Sentence by Louise Erdrich, which I was reading at around the same time. (As is The Beginning of Spring by Penelope Fitzgerald, which I’d recently finished.)
- From one poetry collection with references to Islam (Bless the Daughter Raised by a Voice in Her Head by Warsan Shire) to another (Auguries of a Minor God by Nidhi Zak/Aria Eipe).
- Two children’s books featuring a building that is revealed to be a theatre: Moominsummer Madness by Tove Jansson and The Unadoptables by Hana Tooke.
- Reading two “braid” books at once: Braiding Sweetgrass by Robin Wall Kimmerer and French Braid by Anne Tyler.
- Protests and teargas in The Sentence by Louise Erdrich and The Book of Form and Emptiness by Ruth Ozeki.
- Jellyfish poems in Honorifics by Cynthia Miller and Love Poems in Quarantine by Sarah Ruhl.
- George Floyd’s murder is a major element in The Sentence by Louise Erdrich and Love Poems in Quarantine by Sarah Ruhl.
What’s the weirdest reading coincidence you’ve had lately?
Easter Reading: The Five Wounds by Kirstin Valdez Quade
The Holy Week opening was the excuse I needed to pick up this review copy from 2021. Amadeo Padilla is playing Jesus this year in the Las Penas, New Mexico penitentes’ reenactment of the crucifixion. At 33, he’s the perfect age for the role; no matter that he’s an unemployed alcoholic and a single father to 15-year-old Angel, who is pregnant. Looping from one Good Friday to the next, this debut novel is a crushingly honest look at family dynamics. It’s what isn’t said that might tear them apart: Amadeo’s mother, Yolanda, hasn’t told anyone about her diagnosis, and Amadeo conveniently covers up the fact that he’s sleeping with Brianna, Angel’s teacher at the Smart Starts! high school equivalency program.
The title refers to the stigmata of Christ, but could just as well apply to the Padillas’ five generations, from baby Connor all the way up to Tío Tíve, Amadeo’s great-uncle. Substance abuse, poverty and abandonment are generational wounds that run through this family. Quade treats heavy subjects and damaged characters with kindness, never mocking or descending into cruelty. There is even levity to failures like Amadeo’s windshield crack repair venture. Any of these characters could have been caricatures, especially Angel as a teen mother, but Quade gives them depth. Angel’s emulation of Brianna and her classmate Lizette, her grudging care for Connor and Yolanda, and her ambivalent feelings towards Ryan, Connor’s father, are just a few of the aspects that make her a plucky, winsome protagonist.
The inclusion of Lent and Advent sets up the book’s emotional palette: waiting, guilt, self-sacrifice; preparing for birth, death and the determination to forge a new life. It’s refreshing, however, that the theological content is not just metaphorical here; these characters have a staunch Catholic background, and they take seriously Jesus’ example:
Good Friday was supposed to save Amadeo. He was supposed to be past the shame and failure and the mistakes that hardly seem to be his own and that unravel beyond his control. Amadeo feels cheated. By Passion week, by the penitentes, by Jesus himself. The fact is that no one can be crucified every day—not even Jesus could pull off that miracle.
Amadeo asks himself, with no trace of irony, what Jesus would do in the kinds of situations he finds himself in.
I would have liked more closure about two secondary characters, and at over 400 pages of small type, The Five Wounds is on the overlong side. But it’s so strong on characters and scenes, from classroom to hospital, that my interest never waned. Different as their settings are, I’d liken this to An American Marriage by Tayari Jones and Love After Love by Ingrid Persaud – two novels that had me aching for their vibrant characters’ poor decisions compounded by bad luck. The authors’ compassionate outlook makes the tragic elements bearable. I’ll be catching up on Quade’s first book, the short story collection Night at the Fiestas, as soon as I can.
With thanks to Profile Books (Tuskar Rock imprint) for the free copy for review.
Bonuses:
I recently finished a limping reread of Watership Down by Richard Adams. This was my favourite book as a child, but I couldn’t recapture the magic in my late thirties. The novelty this time around was in being able to recognize all the settings – the rabbits’ epic quest takes place on the outskirts of Newbury; we’ve walked through its countryside locations. (In fact, my husband, in his capacity as a town councillor, has testified at a hearing in objection to a plan to build 1000 houses at Sandleford, where the rabbits set out from.) I can see why I loved this at age nine: anthropomorphized animals, legends, made-up vocabulary and an old-fashioned adventure narrative. But it’s telling that this time around, what most amused me was Chapter 48, “Dea ex Machina,” in which a little girl rescues Hazel from her cat.
I’m 40 pages from the end of These Days by Lucy Caldwell, a beautiful novel set in Belfast in April 1941. A long central section is about “The Easter Raid.” I didn’t realize the devastation the city suffered during the Second World War. We see it mostly through the eyes of the Bell family – especially daughters Audrey, engaged to be married to a young doctor, and Emma, in love with a fellow female volunteer. I was wary of the characterization of the lower class, and the period slang can be a bit heavy-handed, but the evocation of a time of crisis is excellent, contrasting a departed normality with the new reality of bodies piled in the street and in makeshift morgues. It’s reminded me of The Night Watch by Sarah Waters.
(I’ve also posted about my Easter reading, theological or not, in 2015, 2017, 2018 and 2021.)
Women’s Prize 2022: Longlist Wishes vs. Predictions
Next Tuesday the 8th, the 2022 Women’s Prize longlist will be announced.
First I have a list of 16 novels I want to be longlisted, because I’ve read and loved them (or at least thought they were interesting), or am currently reading and enjoying them, or plan to read them soon, or am desperate to get hold of them.
Wishlist
Brown Girls by Daphne Palasi Andreades
Our Wives Under the Sea by Julia Armfield (my review)
Ghosted by Jenn Ashworth (my review)
These Days by Lucy Caldwell
Damnation Spring by Ash Davidson – currently reading
Olga Dies Dreaming by Xóchitl González – currently reading
Burntcoat by Sarah Hall (my review)
Early Morning Riser by Katherine Heiny (my review)
Pure Colour by Sheila Heti
My Monticello by Jocelyn Nicole Johnson (my review)
Devotion by Hannah Kent – currently reading
Build Your House Around My Body by Violet Kupersmith – currently reading
When the Stars Go Dark by Paula McLain (my review)
The Swimmers by Julie Otsuka – review coming to Shiny New Books on Thursday
Brood by Jackie Polzin (my review)
The Performance by Claire Thomas (my review)
Then I have a list of 16 novels I think will be longlisted mostly because of the buzz around them, or they’re the kind of thing the Prize always recognizes (like danged GREEK MYTHS), or they’re authors who have been nominated before – previous shortlistees get a free pass when it comes to publisher submissions, you see – or they’re books I might read but haven’t gotten to yet.
Predictions
Love Marriage by Monica Ali
When We Were Birds by Ayanna Lloyd Banwo
Second Place by Rachel Cusk (my review)
Matrix by Lauren Groff
Free Love by Tessa Hadley
The Other Black Girl by Zakiya Dalila Harris (my review)
The Love Songs of W.E.B. Du Bois by Honorée Fanonne Jeffers
The Fell by Sarah Moss (my review)
My Phantoms by Gwendoline Riley
Beautiful World, Where Are You by Sally Rooney (my review)
Ariadne by Jennifer Saint
The Island of Missing Trees by Elif Shafak
Great Circle by Maggie Shipstead
Pandora by Susan Stokes-Chapman
Still Life by Sarah Winman
To Paradise by Hanya Yanagihara – currently reading
*A wildcard entry that could fit on either list: Sorrow and Bliss by Meg Mason (my review).*
Okay, no more indecision and laziness. Time to combine these two into a master list that reflects my taste but also what the judges of this prize generally seem to be looking for. It’s been a year of BIG books – seven of these are over 400 pages; three of them over 600 pages even – and a lot of historical fiction, but also some super-contemporary stuff. Seven BIPOC authors as well, which would be an improvement over last year’s five and closer to the eight from two years prior. A caveat: I haven’t given thought to publisher quotas here.
MY WOMEN’S PRIZE FORECAST
Love Marriage by Monica Ali
Our Wives Under the Sea by Julia Armfield
When We Were Birds by Ayanna Lloyd Banwo
Olga Dies Dreaming by Xóchitl González
Matrix by Lauren Groff
The Love Songs of W.E.B. Du Bois by Honorée Fanonne Jeffers
Devotion by Hannah Kent
Build Your House Around My Body by Violet Kupersmith
The Fell by Sarah Moss
My Phantoms by Gwendoline Riley
Beautiful World, Where Are You by Sally Rooney
Ariadne by Jennifer Saint
The Island of Missing Trees by Elif Shafak
Great Circle by Maggie Shipstead
Pandora by Susan Stokes-Chapman
To Paradise by Hanya Yanagihara
What do you think?
See also Laura’s, Naty’s, and Rachel’s predictions (my final list overlaps with theirs on 10, 5 and 8 titles, respectively) and Susan’s wishes.
Just to further overwhelm you, here are the other 62 eligible 2021–22 novels that were on my radar but didn’t make the cut:
In Every Mirror She’s Black by Lola Akinmade Åkerström
Violeta by Isabel Allende
The Leviathan by Rosie Andrews
Somebody Loves You by Mona Arshi
The Stars Are Not Yet Bells by Hannah Lillith Assadi
The Manningtree Witches by A.K. Blakemore
Mary Jane by Jessica Anya Blau
Defenestrate by Renee Branum
Songs in Ursa Major by Emma Brodie
Assembly by Natasha Brown
We Were Young by Niamh Campbell
The Raptures by Jan Carson
A Very Nice Girl by Imogen Crimp
Scary Monsters by Michelle de Kretser
Empire of Wild by Cherie Dimaline
Infinite Country by Patricia Engel
Love & Saffron by Kim Fay
Mrs March by Virginia Feito
Booth by Karen Joy Fowler
Tides by Sara Freeman
I Couldn’t Love You More by Esther Freud
Of Women and Salt by Gabriela Garcia
Libertie by Kaitlyn Greenidge
Listening Still by Anne Griffin
The Twyford Code by Janice Hallett
Mrs England by Stacey Halls
Three Rooms by Jo Hamya
The Giant Dark by Sarvat Hasin
The Paper Palace by Miranda Cowley Heller
Violets by Alex Hyde
Fault Lines by Emily Itami
Beasts of a Little Land by Juhea Kim
Woman, Eating by Claire Kohda
Notes on an Execution by Danya Kukafka
Paul by Daisy Lafarge
Circus of Wonders by Elizabeth Macneal
The Truth About Her by Jacqueline Maley
Wahala by Nikki May
Once There Were Wolves by Charlotte McConaghy
Cleopatra and Frankenstein by Coco Mellors
The Exhibitionist by Charlotte Mendelson
Chouette by Claire Oshetsky
The Book of Form and Emptiness by Ruth Ozeki
The Anthill by Julianne Pachico
The Vixen by Francine Prose
The Five Wounds by Kirstin Valdez Quade
Malibu Rising by Taylor Jenkins Reid
Cut Out by Michèle Roberts
This One Sky Day by Leone Ross
Secrets of Happiness by Joan Silber
Cold Sun by Anita Sivakumaran
Hear No Evil by Sarah Smith
Oh William! by Elizabeth Strout
Animal by Lisa Taddeo
Daughter of the Moon Goddess by Sue Lynn Tan
Lily by Rose Tremain
French Braid by Anne Tyler
We Run the Tides by Vendela Vida
I Love You but I’ve Chosen Darkness by Claire Vaye Watkins
Black Cake by Charmaine Wilkerson
The Dictionary of Lost Words by Pip Williams
Nightbitch by Rachel Yoder