I keep a long list of books that I’d love to read but know are only currently available in the USA. Occasionally I manage to chip away at it through my public library borrowing during trips back to visit my family, but I’m adding more titles all the time. I was pleased, then, to learn that The Folded Clock, a book I’ve wanted to get hold of ever since it was first released in the States in 2015, was recently published in the UK.
Heidi Julavits is a founding editor of The Believer magazine as well as a novelist and an associate professor of writing at Columbia University. She lives in New York City during the academic year and spends the rest of the time in Maine, where she was born and raised. The Folded Clock is a diary of two fairly average years in her life, but its dated entries (month and day only) are not in order; they’ve been rearranged into what at times feels like an arbitrary sequence. Yet this is in keeping with the overall theme of time’s fluidity.
The title comes from her daughter’s mishearing of “folded cloth” but is apt in that it suggests time stretching and collapsing back on itself. Indeed, one reason for starting the journal was that Julavits felt time had started to pass differently from how it did in her childhood. Whereas she once thought in terms of days, she realized in her forties that she now worked in weeks and months. She was also inspired by digging out her adolescent diary – though it was not nearly as profound or revelatory about her future writing career as she might have hoped.
Every single entry begins with “Today,” reflecting a determination to live in the present. But of course, that format still offers a broad scope for memory, with certain activities and objects provoking flashbacks. For instance, she finds her ten-year-old marriage vows in the pocket of an old coat, and rereads a biography of Edie Sedgwick (from Andy Warhol’s circle, she died of a drug overdose at 28), as she periodically does to gauge how her response changes as she ages.
Julavits also situates her writing in the context of other famous diarists, such as the Goncourt brothers and Henry David Thoreau. As the latter did in Walden, she’s seeking to live deliberately, though within her regular life and without venturing into nature all that much; “I am an outdoorsman of the indoors,” she quips.
There’s a huge variety of topics here. She writes about being afraid of sharks, stealing names to use for characters in her novels, entering her small Maine town’s Fourth of July parade float competition, visiting E.B. White’s grave, mourning a tree half-lost to a hurricane, her insistence on dwelling in west-facing rooms, and regretting never telling her doctor how much she appreciated him before he died in a cycling accident. Travel features heavily, too, what with accompanying her husband to a fellowship in Germany and spending time at an art colony in Italy. Often it’s the tiny encounters and incidents that remain in her mind, though, like accidentally buying bitter apricot kernels instead of almonds at a German market and worrying that her husband might have given himself cyanide poisoning by eating 14 at once.
Some of these pieces would function well as stand-alone essays, like the one about her obsession with The Bachelor, an American reality television franchise, which leads into her belief that crushes are fostered by small spaces – she fell for her second husband (author Ben Marcus) at an arts colony even though they were both attached to other people at the time.
I was delighted to see Julavits quote the Julian Barnes passage on episodicism versus narrativism that inspired my post on that topic back in January. Unsurprisingly, Julavits sees herself as a narrativist, drawing connections between different points in her life. She’s always pondering what small incidents reveal about her character. We learn that she’s so averse to inconveniencing others that she continued a phone call while nursing a wasp sting and once planned to pee in an airsickness bag rather than wake the two sleepers between her and the aisle on a flight. She avoids yard sales because she’s so cutthroat, and she’s been known to romanticize her daily life when e-mailing a friend in London: “I probably didn’t tell the truthiest truths. I never made stuff up. But I did strive to be entertaining. Such embellishments do not constitute lies. They constitute your personality.”
In one of the pieces that stood out most for me, Julavits feels typecast as a woman of a certain age when she attends a Virginia Woolf reading. “I am of that age now where I am looking for the next age I will be. How will I dress? How will I act?” It’s a good example of how she uses these mini-essays to negotiate the stages of life and contemplate her changing roles. Elsewhere she sums up her composite identity and what she seeks from her writing:
I am a jack-of-all-trades. I edit and teach and at times desire to be a clothing designer or an artist … and I write everything but poetry and I am a mother and a social maniac and a misanthrope and a burgeoning self-help guru and a girl who wants to look pretty and a girl who wants to look sexy and a girl who wants to look girly and a woman in her middle forties who wishes not to look like anything at all, who wishes sometimes to vanish.
I sometimes think this is why I became a writer. Here was a way to regularly exercise my desire. I could desire to do this thing that no one does perfectly, and by doing it and doing it I could learn how to desire more, and better. Here was an activity that would always leave me wanting … not youth exactly, but the opposite of death. That to me is a way to always feel like I am nowhere near the end.
Inevitably, some entries are more interesting than others, and Julavits’ neuroticism may grate for some readers, but I found this book to be chock-full of quotable lines and insights into what it means to be a time-bound human being. Like one of May Sarton’s journals, I read it slowly, just a few pieces at a time over the course of weeks, and I’ll be keeping it on the shelf to flick through if I ever need an example of how to write a piercing, bite-sized fragment of autobiography. I highly recommend it.
(See also this brief Guardian interview with Julavits.)
The Folded Clock: A Diary was published by Bloomsbury Circus on March 9th. My thanks to the publisher for the free copy for review.
My rating: 
In the end, they fell in love with a plot of land with a water meadow that was home to herons and beavers. With no handyman skills, they never thought they’d embark on building a home of their own. And as it turned out, finding the land was the easy bit, as opposed to the nitty-gritty details of designing what they wanted and meeting with builders who could make it a reality. But as they planted trees and looked ahead to their move in a year’s time, they were already forming a relationship with this place before the house was ever built, learning “the hard lessons of patience and possibility.”
In two of the books I currently have on the go, items found in books are a key element. First there’s Swimming Lessons in Claire Fuller, in which one strand of the narrative is told via a series of letters Ingrid hid in various thematically relevant books from her husband’s overflowing collection before she disappeared 12 years ago.
This one-sitting read is a monologue by an embittered librarian who arrives one morning to discover a patron has been locked into the basement overnight—a captive audience. Responsible for Geography, she hopes for a promotion to History, her favorite subject. Alas, no one seems to appreciate this library as a bastion of learning anymore; they only come for DVDs and a place to keep warm. That is, except for Martin, a young PhD researcher who’s caught her eye. But he doesn’t even seem to notice she exists. In one uninterrupted paragraph, this celebrates all that books do for us but suggests that they still can’t fix a broken heart.
When this won the Sue Kaufman Prize for First Fiction in 1987, the author was in her sixties. It’s since been championed by Ann Patchett, who contributed a Foreword to this 2011 edition. Father Declan de Loughry, fishing for salmon, reflects on the recent death of parishioner Kevin Dennehy. Before he died, Kevin admitted that he and Enda were never properly married. Yet Enda begs the priest to approve a death notice calling Kevin her “beloved husband,” promising she’ll then explain “the all of it” – the very good reason they never married. As she tells her full story, which occupies the bulk of the novella, Father Declan tries to strike a balance between the moral high ground and human compassion.
This starts off as the simple story of J. Mendelssohn, an octogenarian who wakes up on a snowy morning in his New York City apartment, contemplating his past – Lithuanian/Polish ancestry, work as a judge and marriage to Eileen, whom he met as a boy in Dublin – and planning to meet his son at a restaurant for lunch. But all of a sudden it turns into a murder mystery on page 24: “Later the homicide detectives will be surprised…” In 13 sections headed by epigraphs from the Wallace Stevens poem “Thirteen Ways of Looking at a Blackbird,” McCann flits through Mendelssohn’s thoughts and flips between the events preceding and immediately following the murder. A late interrogation scene is particularly strong – “unlike our poetry, we like our murders to be fully solved.”
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On the surface this is similar to 
Brown is a novelist from Seattle. This is an account of her mother’s death from what sounds like stomach cancer. The disease progressed quickly and her mother died at home, under hospice care, in New Mexico in 1997. As the title suggests, the brief thematic chapters are arranged around vocabulary words like “anemia” and “metastasis.” My favorite chapters were about washing: her mother’s habit of reading while taking long baths, and the ways Brown and her sister tried to care for their mother’s disintegrating body, including a plan to prepare the corpse themselves. Clinical descriptions of vomiting alternate with magical thinking to accompany her mother’s hallucinations: “You’re packed, Mom, but all of us aren’t going, just you. But you’ve got everything you need.”
This 1996 memoir was sparked by reading a quote from a Chinese Buddhist in a New York Times article: he suggested that reading is dangerous as it imposes others’ ideas on you and doesn’t allow you to use your own mind freely. Schwartz, of course, begs to differ. As a novelist, reading has been her lifeline. She looks back at her childhood reading and her pretentious college student opinions on Franz Kafka and Henry James, and explains that she lets serendipity guide her reading choices nowadays, rather than a strict TBR list: “reading at random – letting desire lead – feels like the most faithful kind.”
Lincoln: A Foreigner’s Quest by Jan Morris: Like grape jelly, the obsession with Abraham Lincoln was something about American life that world traveler Jan Morris could never understand. Here she sets out to discover the melange of history and myth that composes the 16th president. She succeeds in giving not only the salient facts of Lincoln’s life but also a fair assessment of his character, in a lighthearted and accessible book that has neither the heft nor the heavygoing tone of a standard biography. Her discussion of his rhetorical style is especially good, and in a few passages she imagines the reader into scenes. Here’s one of the best pithy observations: “Academic historians cannot allow themselves such flip idiomatic judgments, but to an outsider like me that seems about the truth of it. He was a nice man. He could be scheming, irritable, disingenuous, but he was never pompous or overbearing.” [Remainder copy bought for $3.99 at Wonder Book and Video, Frederick, Maryland.] 
The Omnivore’s Dilemma by Michael Pollan: I made the mistake of reading this a decade after its publication, which means I already knew most of its facts about industrialized farming and the insidiousness of processed foods. I found Part I to be overly detailed and one-note, constantly harping on about corn. The book gets better as it goes on, though, with Pollan doing field research at Joel Salatin’s Polyface Farm in Virginia to compare large-scale organic agriculture with more sustainable grassroots operations. Pollan’s assessment of the ethics of eating meat is not quite as thorough as Jonathan Safran Foer’s (in Eating Animals), but he does a good job of showing all sides of the issue. This would make an excellent, comprehensive introduction to where food comes from for people who have never given it much thought. But then again, the people who need it most would never pick up a dense 400+-page book by a liberal journalist. [Bought in one of the Hay-on-Wye shops for £2.] 
The Naming of the Shrew by John Wright: Wright is known in the UK as TV chef Hugh Fearnley-Whittingstall’s go-to expert on foraging, especially fungi. His enthusiasm for the arcane details of Latin naming comes through clearly in this thorough history of taxonomy. At first I thought it would be a groaningly pun-filled book of arbitrarily arranged trivia, but by Chapter 2 Wright won me over. You’ll learn all about Carl Linnaeus and the taxonomists who preceded and followed him; rules for species naming and the meaning of common Latin prefixes and suffixes; the wildly divergent sources of names, from discoverers’ names to mythology; and the endless complications of a field where species are always being lumped, split, or re-evaluated. One of my favorite facts was that aloe vera and the boa constrictor are among the few species whose English names are the same as their Latin ones. [A birthday gift from my brother-in-law last year.] 
A Time of Gifts by Patrick Leigh Fermor: A true masterwork of travel writing. Over the course of three years, starting when he was just 18, Fermor walked from Holland to Constantinople. I was particularly eager to read this because he passes through a lot of places I went on my travels this past summer, including Germany, Austria and Bratislava. This first of three volumes covers up until his entry into Hungary. His descriptions of the landscape and the people he interacted with are as fresh as if they happened yesterday, and yet he was reconstructing this journey nearly 40 years after the fact. Although he was basically traveling rough, he managed to wangle invitations into castles and aristocrats’ homes. This gives him a broad base of observation such that you feel you’re getting a complete picture of European life in the early 1930s. It’s a precious glimpse of pre-war history, but Fermor doesn’t use too heavy a hand when recalling signs of rising Nazism. Lastly, this is simply damn fine writing:
The House by the Sea by May Sarton: This is the sixth of Sarton’s journals I’ve read. It covers 1975–6, when she was 63–4 and in her second year in Maine. Her health is not yet a worry, at least as compared to later journals, but there is a faint sense of diminished abilities and an awareness of death’s approach. Poetry has run dry for her, but in the course of writing this journal she publishes a series of biographical reflections and prepares to begin a new novel. Tamas the dog and Bramble the cat are faithful companions. Her former lover, Judy, suffers from dementia and visits with her are mostly painful reminders of what has been lost. These journals are not the place to turn if you want momentous events. Rather, read them for deep insight into a writer’s psyche, meditations on the benefits of solitude, and affirmation of the quiet joys of gardening and an ocean view. [Bought from a library book sale in America for 50 cents.] 
The Guest Cat by Takashi Hiraide
The Fur Person by May Sarton 
I found this a bit lightweight overall, and the whole idea of a ‘fur person’ is a little strange – don’t we love cats precisely because they’re not people? Still, I enjoyed the proud cat’s Ten Commandments (e.g. “II. A Gentleman Cat allows no constraint of his person … III. A Gentleman Cat does not mew except in extremity”) and spotted my own domestic situation in this description: “while she [‘Gentle Voice’ = Judy] was away the other housekeeper [= Sarton] was sometimes quite absent-minded and even forgot his lunch once or twice because she sat for hours and hours in front of a typewriter, tapping out messages with her fingers.” The black-and-white illustrations by David Canright are a highlight.
Particularly Cats…And Rufus by Doris Lessing
The Unadulterated Cat: A Campaign for Real Cats by Terry Pratchett
On Cats by Charles Bukowski