I’ve continued to post my occasional reading coincidences on Twitter and/or Instagram. This is when two or more books that I’m reading at the same time or in quick succession have something pretty bizarre in common. Because I have so many books on the go at once – usually between 10 and 20 – I guess I’m more prone to such serendipitous incidents. (The following are in rough chronological order.)
What’s the weirdest coincidence you’ve had lately?
- Two titles that sound dubious about miracles: There Will Be No Miracles Here by Casey Gerald and The Unwinding of the Miracle: A Memoir of Life, Death, and Everything that Comes After by Julie Yip-Williams
- Two titles featuring light: A Light Song of Light by Kei Miller and The Age of Light by Whitney Scharer
- Grey Poupon mustard (and its snooty associations, as captured in the TV commercials) mentioned in There Will Be No Miracles Here by Casey Gerald and Drinking: A Love Story by Caroline Knapp
- “I Wanna Dance with Somebody” (the Whitney Houston song) referenced in There Will Be No Miracles Here by Casey Gerald and Don’t Call Us Dead by Danez Smith
- Two books have an on/off boyfriend named Julian: Drinking: A Love Story by Caroline Knapp and Extinctions by Josephine Wilson
- There’s an Aunt Marjorie in When I Had a Little Sister by Catherine Simpson and Extinctions by Josephine Wilson
- Set (at least partially) in a Swiss chalet: This Sunrise of Wonder by Michael Mayne and Crazy for God by Frank Schaeffer
- A character named Kiki in The Sacred and Profane Love Machine by Iris Murdoch, The Age of Light by Whitney Scharer, AND Improvement by Joan Silber
- Two books set (at least partially) in mental hospitals: Mind on Fire by Arnold Thomas Fanning and Faces in the Water by Janet Frame
- Two books in which a character thinks the saying is “It’s a doggy dog world” (rather than “dog-eat-dog”): The Friend by Sigrid Nunez and The Octopus Museum by Brenda Shaughnessy
- Reading a novel about Lee Miller (The Age of Light by Whitney Scharer), I find a metaphor involving her in My Year of Rest and Relaxation by Ottessa Moshfegh: (the narrator describes her mother) “I think she got away with so much because she was beautiful. She looked like Lee Miller if Lee Miller had been a bedroom drunk.” THEN I come across a poem in Clive James’s Injury Time entitled “Lee Miller in Hitler’s Bathtub”
- On the same night that I started Siri Hustvedt’s new novel, Memories of the Future, I also started a novel that had a Siri Hustvedt quote (from The Blindfold) as the epigraph: Besotted by Melissa Duclos
- In two books “elicit” was printed where the author meant “illicit” – I’m not going to name and shame, but one of these instances was in a finished copy! (the other in a proof, which is understandable)
- Three books in which the bibliography is in alphabetical order BY BOOK TITLE! Tell me this is not a thing; it will not do! (Vagina: A Re-education by Lynn Enright; Let’s Talk about Death (over Dinner) by Michael Hebb; Telling the Story: How to Write and Sell Narrative Nonfiction by Peter Rubie)
- References to Gerard Manley Hopkins in Another King, Another Country by Richard Holloway, This Sunrise of Wonder by Michael Mayne and The Point of Poetry by Joe Nutt (these last two also discuss his concept of the “inscape”)
- Creative placement of words on the page (different fonts; different type sizes, capitals, bold, etc.; looping around the page or at least not in traditional paragraphs) in When Death Takes Something from You Give It Back by Naja Marie Aidt [not pictured below], How Proust Can Change Your Life by Alain de Botton, Stubborn Archivist by Yara Rodrigues Fowler, Alice Iris Red Horse: Selected Poems of Yoshimasu Gozo and Lanny by Max Porter
- Twin brothers fall out over a girl in Cutting for Stone by Abraham Verghese and one story from the upcoming book Meteorites by Julie Paul
- Characters are described as being “away with the fairies” in Lanny by Max Porter and Away by Jane Urquhart
- Schindler’s Ark/List is mentioned in In the Beginning: A New Reading of the Book of Genesis by Karen Armstrong and Telling the Story: How to Write and Sell Narrative Nonfiction by Peter Rubie … makes me think that I should finally pick up my copy!
Four February–March releases: A shape-shifting bereavement memoir; a poet’s selected works, infused with nature and history; a novel set among expatriates in Shanghai; and a graphic novel about a romance at the watershed of age 60 – you can’t say I don’t read a variety of books! I’m particularly pleased that two of these four are in translation. All:
When Death Takes Something from You Give It Back: Carl’s Book by Naja Marie Aidt
[Translated from the Danish by Denise Newman]
In March 2015 Aidt got a call telling her that her second of four sons, Carl Emil, was dead. The 25-year-old experienced drug-induced psychosis after taking some mushrooms that he and his friend had grown in their flat and, naked, jumped out of his fifth-floor Copenhagen window. In italicized sections she cycles back to the moment she was notified, each time adding on a few more harrowing details about Carl’s accident and the condition she found him in. The rest of the text is a collage of fragments: memories, dreams, dictionary definitions, journal entries, and quotations from the patron saints of bereavement (C.S. Lewis and Joan Didion) and poets who lost children, such as Stéphane Mallarmé.
The playful disregard for chronology and the variety of fonts, typefaces and sizes are a way of circumventing the feeling that grief has made words lose their meaning forever. David Grossman, whose son died during his service in the Israeli army, does a similar thing in Falling Out of Time, which, although it is fiction, blends poetry and dialogue in an attempt to voice the unspeakable. Han Kang’s The White Book and Yiyun Li’s Where Reasons End are two other comparable precursors.
A representative passage:
“no language possible language died with my child could not be artistic could not be art did not want to be fucking art I vomit over art over syntax write like a child main clauses searching everything I write is a declaration I hate writing don’t want to write any more”
With thanks to Quercus Books for the free copy for review.
Gallop: Selected Poems by Alison Brackenbury
I first encountered Alison Brackenbury’s poetry through her reading as part of the 2017 “Nature Matters” conference in Cambridge. From four generations of Lincolnshire shepherds, Brackenbury writes about history, nature, country life (especially horses, as you might guess from the title and cover) and everyday joys and regrets. A Collected/Selected Poems volume is often difficult to assess as a whole because there can be such a variety of style and content; while that is certainly true here in terms of the poems’ length and rhyme schemes, the tone and themes are broadly similar throughout. I connected most to her middle period. Her first and last lines are especially honed.
Highlights include “The Wood at Semmering” (“This is a dismal wood. We missed our train.”), “Half-day” (“Will she lift / Her face from cloth’s slow steam: will she find out / Ironing is duty; summer is a gift?”), “Hill Mist” (“I am too fond of mist, which is blind / without tenderness”), “On the Road” (the bravery of a roadkill squirrel), “Epigrams” (being in the sandwich generation), “The Card” (“Divorce comes close to death”), “Cycles” (“Would I go back?”), “The Jane Austen Reader” (“Welcome to the truth. Miss Bingley married Darcy”), “On the Aerial” (a starling’s many songs), and “Dickens: a daydream.”
Some favorite lines:
“we are love’s strange seabirds. We dive there, still.” (from “The Divers’ Death”)
“Ancestors are not in our blood, but our heads: / we make history.” (from “Robert Brackenbury”)
With thanks to Carcanet Press for the free copy for review.
Besotted by Melissa Duclos
Sasha is soon to leave Shanghai, her departure hastened by the collapse of her relationship with Liz, whom she hired to work at her international school because she had no teaching experience or Chinese – and maybe because she signed her cover letter “Besottedly,” thinking it meant drunkenly. Even before Liz arrived, Sasha built romantic fantasies around her, thinking she’d show her the ropes and give her a spare room to live in. All went according to plan – the erstwhile straight Liz even ended up in Sasha’s bed – until it all fell apart.
The novel is set over one school year and shows the main characters exploring the expat community, which primarily involves going to happy hours. Liz starts language exchange sessions at Starbucks with a Chinese guy, Sam, and both women try to ignore the unwanted advances of their acquaintance Dorian, an architect. Little misunderstandings and betrayals go a long way towards rearranging these relationships, while delicate flashbacks fill in the women’s lives before China.
There were a couple of narrative decisions here that didn’t entirely work for me: Sasha narrates the whole book, even scenes she isn’t present for; and there is persistent personification of abstractions like Loneliness and Love. But the descriptions of the city and of expat life are terrific, and the wistful picture of a romance that starts off sweet but soon sours is convincing.
A favorite passage:
“Shanghai had found its own identity since then: a glittering capitalist heart, hardened into a diamond and barely hidden beneath its drab, brown communist cloak. … Constantly under construction, Shanghai was a place to reinvent yourself.”
Full disclosure: Melissa and I worked together on Bookkaholic web magazine, and are Facebook friends. She sent me a free proof copy for review.
Blossoms in Autumn by Zidrou and Aimée de Jongh
[Translated from the French by Matt Madden]
The French-language title, translated literally, is The Programmed Obsolescence of Our Feelings. (Talk about highfalutin!) Both that and the English title defy the notion that we become less capable of true love and growth the older we are – as will be dramatized through the story of a later-life romance between the two main characters. Ulysses Varennes, a 59-year-old widower who retired early from his career as a mover, hates books (gasp!) because moving boxes of them ruined his back (he even refuses to read them!). Mediterranea Solenza, coming up on 62, was a nude model in her prime and is now a cheesemaker. At the book’s opening she has just laid her mother to rest, and her affair with Ulysses serves as a chance at a new life that somehow counterbalances the loss.
We come to understand these characters through the sadness of their past but also through their hopeful future, both encompassed by the metaphor of a Homeric journey (Ulysses, get it?). Indeed, the book takes an unusual turn I never would have expected; if it beggars belief, it is at least touching. Zidrou is a Belgian comics writer and Aimée de Jongh is a Dutch-born illustrator. She portrays these ageing bodies sensitively but realistically, retreating into an appropriately impressionistic style for the spreads that show their actual lovemaking. In a nice touch, the first two words and last two words of the book are exactly the same.
With thanks to SelfMadeHero for the free copy for review.