Noah’s Compass by Anne Tyler (2009)
This year I’ve been joining in Liz’s Anne Tyler readalong for most of the novels I own and hadn’t read yet. I’ve discovered a few terrific new-to-me ones: Earthly Possessions, Saint Maybe, The Amateur Marriage … but there have also been some slight duds. Alas, this one falls into the latter category. A Tyler novel is never less than readable, but a habit that I find irksome is on show here, and she’s used this story template more successfully before.
In 2006, Liam Pennywell is forced to start a new life at age 60. After being laid off from his private school teaching job, he downsizes to a smaller apartment further out from central Baltimore. On his first night in the place, he’s assaulted by a would-be burglar and wakes up in hospital with no memory of the lost hours. As he tries to piece together what happened, his three daughters, grandson and ex-wife flit in and out of his life, tutting at his bachelor ways and later disapproving of his budding relationship with a much younger woman.
The focus on a hapless male trying to do better is a familiar setup for Tyler (Saint Maybe, The Accidental Tourist, A Patchwork Planet, The Beginner’s Goodbye, and Redhead by the Side of the Road, at least – have I missed any?). Liam especially reminded me of Michael in The Amateur Marriage: they feel they have been sleepwalking through life and wish they had appreciated it more and shaped it more through their decisions. As Liam says at one point, “It’s as if I’ve never been entirely present in my own life.” Dating Eunice is his only bid for freedom and happiness. But, in the book’s most memorable scene, a visit to his elderly father is a revelation to Liam: he never wanted to be like this man, but accidentally almost was.
Much as I enjoy sinking into a Tyler novel (the closest I come to a ‘guilty pleasure’ read?), I get exasperated with the way she includes an ostensibly momentous event that doesn’t actually matter much, or only insomuch as it sets up the plot. (Clock Dance is the worst offender in this respect.) There is a suicide in the background, but the assault and memory loss soon fade into the background, to be replaced by well-worn, breezy dysfunctional family happenings. The title, from a Sunday school-based conversation Liam has with his grandson, is cute and meaningful in context – about a drifting life in search of direction – but won’t help as an aide-mémoire for the story. The same goes for the twee cover image on my Vintage paperback.
So, a rather forgettable one – which, unfortunately, has largely been my experience of Tyler’s later work (with the exception of the punchy Shakespearean fun of Vinegar Girl). But you can do much worse than pick up one of her paperbacks on a sunny afternoon.
See also Liz’s review. She’s as lukewarm as I am on this one. (Secondhand purchase from Thatcham Library sale trolley)
My rating: 
The 16 Tyler novels I’ve read, in order of preference (greatest to least), are:
Dinner at the Homesick Restaurant
Saint Maybe
The Amateur Marriage
Ladder of Years
The Accidental Tourist
Earthly Possessions
Breathing Lessons
Digging to America
Vinegar Girl
Back When We Were Grown-ups
Clock Dance
A Blue Spool of Thread
The Beginner’s Goodbye
Noah’s Compass
Redhead by the Side of the Road
The Clock Winder
The only unread Tyler I have remaining on my shelves is A Patchwork Planet, which I started in July but didn’t get far with. I’ll try it again another time. And there’s not long to wait now for her NEW novel, French Braid, coming out in March. (Even though I’m sure she announced in 2015 that she was retiring, we’ll have had four novels since then.) The other one that this readalong project has piqued my interest in is Celestial Navigation. I don’t think I’ll bother with her first four novels, which she’d like to see struck from the record. Morgan’s Passing and Searching for Caleb I’m unsure about. Should I find them very cheap secondhand, I’d probably have a go.
Get Ready for Novellas in November!
Novellas: “all killer, no filler”
~Joe Hill
For the second year in a row, Cathy of 746 Books and I are co-hosting Novellas in November as a month-long challenge with four weekly prompts.
New this year: each week we will take it in turns to host a “buddy read” of a featured book we hope you will join in reading. We’re announcing the challenge early to give you plenty of time to get your stack ready.
(We suggest 150–200 pages as the upper limit for a novella, and post-1980 as a definition of “contemporary.”)
1–7 November: Contemporary fiction (Cathy)
Open Water by Caleb Azumah Nelson – including a giveaway of a signed copy!
8–14 November: Short nonfiction (Rebecca)
The Story of My Life by Helen Keller (free to download here from Project Gutenberg. Note: only the first 85 pages constitute her memoir; the rest is letters and supplementary material.)
15–21 November: Literature in translation (Cathy)
Territory of Light by Yuko Tsushima
22–28 November: Short classics (Rebecca)
Ethan Frome by Edith Wharton (free to download here from Project Gutenberg)
We’re looking forward to having you join us! Keep in touch via Twitter (@bookishbeck / @cathy746books) and Instagram (@bookishbeck / @cathy_746books) and feel free to use the terrific feature images Cathy has made and the hashtag #NovNov.
The Clock Winder by Anne Tyler (1972)
This year I’m joining in Liz’s Anne Tyler readalong for all of the Tyler novels that I own and haven’t read yet (at least the ones I can access; others are marooned in a box in the States). The Clock Winder was Tyler’s fourth novel and the first to take place in Baltimore, her trademark setting. It’s the earliest of her works that I’ve read. (See also Liz’s review.)
When I reviewed Clock Dance back in 2018, I wondered if there could be a connection between the two novels beyond their titles. A clock, of course, symbolizes the passage of time, so invites us to think about how the characters change and what stays the same over the years. But there is, in fact, another literal link: in both books, there is a fairly early mention of a gun – and, if you know your Chekhov quotes, that means it’s going to go off. Whereas in Clock Dance the gunshot has no major consequences, here it’s a method of suicide. So the major thing to surprise me about The Clock Winder is that it goes to a dark place that Tyler’s fiction rarely visits, though an additional later threat comes to nothing.
As the novel opens in 1960, Pamela Emerson fires the Black handyman who has worked for her for 25 years. “The house had outlived its usefulness,” what with Mr. Emerson dead these three months and all seven children grown up and moved out. Mrs. Emerson likes to keep up appearances – her own hair and makeup, and the house’s porch furniture, which a passerby helps her move. This helpful stranger is Elizabeth Abbott, a Baptist preacher’s daughter from North Carolina who is taking on odd jobs to pay for her senior year of college. Mrs. Emerson hires Elizabeth as her new ‘handyman’ for $40 a week. One of her tasks is to wind all the clocks in the house. Though she’s a tall tomboy, Elizabeth attracts a lot of suitors – including two of the Emerson sons, Timothy and Matthew.
We meet the rest of the Emerson clan at the funeral for the aforementioned suicide. There’s a very good post-funeral meal scene reminiscent of Carol Shields’s party sequences: disparate conversations reveal a lot about the characters. “We’re event-prone,” Matthew writes in a letter to Elizabeth. “But sane, I’m sure of that. Even Andrew [in a “rest home” for the mentally ill] is, underneath. Probably most families are event-prone, it’s just that we make more of it.” In the years to come, Elizabeth tries to build a life in North Carolina but keeps being drawn back into the Emersons’ orbit: “Life seemed to be a constant collision … everything recurred. She would keep running into Emersons until the day she died”.
The main action continues through 1965 and there is a short finale set in 1970. While I enjoyed aspects of the characters’ personalities and interactions, the decade span felt too long and the second half is very rambly. A more condensed timeline might have allowed for more of the punchy family scenes Tyler is so good at, even this early in her career. (There is a great left-at-the-altar scene in which the bride utters “I don’t” and flees!) Still, Elizabeth is an appealing antihero and the setup is out of the ordinary. I liked comparing Baltimore then and now: in 1960 you get a turkey being slaughtered in the backyard for Thanksgiving, and pipe smoking in the grocery store. It truly was a different time. One nice detail that persists is the 17-year cicadas.
You can see the seeds of some future Tyler elements here: large families, sibling romantic rivalries, secrets, ageing and loss. The later book I was reminded of most was Back When We Were Grown-ups, in which a stranger is accepted into a big, bizarre family and has to work out what role she is to play. A Tyler novel is never less than readable, but this ended up being my least favorite of the 12 I’ve read so far, so I doubt I’ll read the three that preceded it. Those 12, in order of preference (greatest to least), are:
Dinner at the Homesick Restaurant
Ladder of Years
The Accidental Tourist
Breathing Lessons
Digging to America
Vinegar Girl
Clock Dance
Back When We Were Grown-ups
A Blue Spool of Thread
The Beginner’s Goodbye
Redhead by the Side of the Road
The Clock Winder
Source: Charity shop
My rating:
Next up for me will be Earthly Possessions in mid-April.
Reading Robertson Davies Week: Fifth Business
I’m grateful to Lory (of The Emerald City Book Review) for hosting this past week’s Robertson Davies readalong, which was my excuse to finally try him for the first time. Of course, Canadians have long recognized what a treasure he is, but he’s less known elsewhere. I do remember that Erica Wagner, one of my literary heroes (an American in England; former books editor of the London Times, etc.), has expressed great admiration for his work.
I started with what I had to hand: Fifth Business (1970), the first volume of The Deptford Trilogy. In the theatre world, the title phrase refers to a bit player who yet has importance to the outcome of a drama, and that’s how the narrator, Dunstan Ramsay, thinks of himself. I was reminded right away of the opening of Charles Dickens’s David Copperfield: “Whether I shall turn out to be the hero of my own life, or whether that station will be held by anybody else, these pages must show.” In the first line Ramsay introduces himself in relation to another person: “My lifelong involvement with Mrs. Dempster began at 5.58 o’clock p.m. on 27 December 1908, at which time I was ten years and seven months old.”
Specifically, he dodged a snowball meant for him – thrown by his frenemy, Percy Boyd Staunton – and it hit Mrs. Dempster, wife of the local Baptist minister, in the back of the head, knocking her over and 1) sending her into early labor with Paul, who also plays a major role in the book; and 2) permanently compromising her mental health. Surprisingly, given his tepid Protestant upbringing, Ramsay becomes a historian of Christian saints, and comes to consider Mrs. Dempster part of his personal pantheon for a few incidents he thinks of as miracles – not least his survival during First World War service. And this is despite Mrs. Dempster being caught in a situation that seriously compromises her standing in Deptford.
The novel is presented as a long, confessional letter Ramsay writes, on the occasion of his retirement, to the headmaster of the boys’ school where he taught history for 45 years. Staunton, later known simply as “Boy,” becomes a sugar magnate and politician; Paul becomes a world-renowned illusionist known by various stage names. Both Paul and Ramsay are obsessed with the unexplained and impossible, but where Paul manipulates appearances and fictionalizes the past, Ramsay looks for miracles. The Fool, the Saint and the Devil are generic characters we’re invited to ponder; perhaps they also have incarnations in the novel?
Fifth Business ends with a mysterious death, and though there are clues that seem to point to whodunit, the fact that the story segues straight into a second volume, with a third to come, indicates that it’s all more complicated than it might seem. I was so intrigued that, thanks to my omnibus edition, I carried right on with the first chapter of The Manticore (1972), which is also in the first person but this time narrated by Staunton’s son, David, from Switzerland. Freudian versus Jungian psychology promises to be a major dichotomy in this one, and I’m sure that the themes of the complexity of human desire, the search for truth and goodness, and the difficulty of seeing oneself and others clearly will crop up once again.
This was a very rewarding reading experience. I’d recommend Davies to those who enjoy novels of ideas, such as Iris Murdoch’s. I’ll carry on with at least the second volume of the trilogy for now, and I’ve also acquired the first volume of another, later trilogy to try.
My rating: 
Some favorite lines:
“I cannot remember a time when I did not take it as understood that everybody has at least two, if not twenty-two, sides to him.”
“Forgive yourself for being a human creature, Ramezay. That is the beginning of wisdom; that is part of what is meant by the fear of God; and for you it is the only way to save your sanity.”
It’s also fascinating to see the contrast between how Ramsay sees himself, and how others do:
“it has been my luck to appear more literate than I really am, owing to a cadaverous and scowling cast of countenance, and a rather pedantic Scots voice”
vs.
“Good God, don’t you think the way you rootle in your ear with your little finger delights the boys? And the way you waggle your eyebrows … and those horrible Harris tweed suits you wear … And that disgusting trick of blowing your nose and looking into your handkerchief as if you expected to prophesy something from the mess. You look ten years older than your age.”
Iris Murdoch Readalong: The Sacred and Profane Love Machine (1974)
A later Murdoch – her sixteenth novel – and not one I knew anything about beforehand. In terms of atmosphere, characters and themes, it struck me as a cross between A Severed Head and The Nice and the Good. Like the former, it feels like a play with a few recurring sets: Hood House, where the Gavenders (Blaise, Harriet and David) live; their next-door neighbor Montague Small’s house; and the apartment where Blaise keeps his mistress, Emily McHugh, and their eight-year-old son Luca. A sizeable dramatis personae radiates out from the central love triangle: lodgers, neighbors, other family members, mutual friends and quite a few dogs.
Blaise is a psychoanalyst but considers himself a charlatan because he has no medical degree; he’s considering returning to his studies to rectify that. Harriet reminded me of Kate from The Nice and the Good: a cheerful, only mildly unfulfilled matriarch who is determined to choreograph much of what happens around her. (“She wanted simply to feel the controls firmly in her hands. She wanted to be the recognizer, the authorizer, the welcomer-in, the one who made things respectable and made them real by her cognizance of them.”) Their son David, 16, looks like a Pre-Raphaelite god and is often disgusted by fleshly reality. Montague writes successful but formulaic detective novels and is mourning his wife’s recent death.
I loved how on first introduction to most characters we hear about the dreams from which they’ve just awoken, involving mermaids, cats, dogs and a monster with a severed head. “Dreams are rather marvellous, aren’t they,” David remarks to Monty. “They can be beautiful in a special way like nothing else. Even awful things in dreams have style.” Scenes often open with dreams that feel so real to the characters that they could fool readers into belief.
Blaise knows he can’t sustain his double life, especially after Luca stows away in his car on a couple of occasions to see Hood House. When he confesses to Harriet via a letter, she seems to handle things very well. In fact, she almost glows with self-righteous pride over how reasonably she’s been responding. But both she and Emily end up resentful. Why should Blaise ‘win’ by keeping his wife and his mistress? “You must feel like the Sultan of Turkey,” Emily taunts him. “You’ve got us both. You’ve got away with it.” Here starts a lot of back-and-forth, will-they-won’t-they that gets somewhat tedious. Throughout I noticed overlong sections of internal monologue and narrator commentary on relationships.
There’s a misperception, I think, that Murdoch wrote books in which not much happens, simply because her canvas can be small and domestically oriented. However, this is undoubtedly an eventful novel, including a Shocking Incident that Liz warned about. Foreshadowing had alerted me that someone was going to die, but it wasn’t who or how I thought. When it comes to it, Murdoch is utterly matter-of-fact: “[X] had perished”.
One of the pleasures of reading a Murdoch novel is seeing how she reworks the same sorts of situations and subjects. (Liz has written a terrific review set in the context of Murdoch’s whole body of work.) Here I enjoyed tracing the mother–son relationships – at least three of them, two of which are quite similar: smothering and almost erotic. Harriet later tries to subsume Luca into the family, too. I also looked out for the recurring Murdochian enchanter figure: first Blaise, for whom psychiatry is all about power, and then Harriet.
I hugely enjoyed the first 100 pages or more of the book, but engaged with it less and less as it went on. Ultimately, it falls somewhere in the middle for me among the Murdochs I’ve read. Here’s my ranking of the nine novels I’ve read so far, with links to my reviews:
Favorite: The Bell
The Sea, The Sea
The Sacred and Profane Love Machine
The Black Prince
Least favorite: An Accidental Rose
My rating: 
A favorite passage (this is Monty on the perils of working from home!): “If I had an ordinary job to do I’d have to get on with it. Being self-employed I can brood all day. It’s undignified and bad.”
This is the last of the Murdoch paperbacks I bought as a bargain bundle from Oxfam Books some years ago. I’ll leave it a while – perhaps a year – and then try some earlier Murdochs I’ve been tempted by during Liz’s Iris Murdoch readalong project, such as The Unicorn.
American Book Acquisitions and 2019 Reading Goals
We arrived in the UK on January 1, after an overnight flight from Baltimore. There was no midnight announcement, no complimentary champagne; nothing. Clearly I had my hopes too high. So we’re feeling a bit cheated out of our New Year’s Eve experience and will be doing a recreated countdown and toast when we have houseguests over for this Epiphany weekend.
It was a low-key, relaxing couple of weeks back in the States, the majority of it spent seeing family and friends. We also made it into D.C. to see the new Obama portraits. Mostly I enjoyed doing not a lick of work. And I acquired books, of course: a secondhand and remainder stack that, after my trade-in of some cast-off books, cost just $4; and a few ARCs I’m excited about.
2019 Goals
I’m feeling restless in my career, like if someone gave me permission to quit all my gigs I would do it tomorrow. But, of course, only a fool would do so with no plan to replace them with other remunerative work. The year is likely to involve a lot of rethinking for me as I evaluate which of my proofreading and writing jobs feel worthwhile, and what’s taking me in the direction I want to go (not that I currently know what that is).
Life is awfully hard to plan out. Reading is much easier! So here are my fairly modest reading goals for the year, some of them overlapping:
- I plan to reinstate the Classic and Doorstopper of the month features I ran in 2017, since otherwise I hardly ever read them. I’m starting with Annabel’s readalong of The Name of the Rose by Umberto Eco, which is just over 500 pages but also conveniently falls into one of the below categories.
The doorstoppers I have around to choose from.
- I’ll make a second attempt at getting through some of the travel books and biographies I own, though I won’t hold myself to any particular target. At least five of each would be nice.
- I’m determined to up my literature in translation ratio. These are all the books I own that were originally published in other languages – pitiful! – but I will get hold of more through the library and publishers.
- Re-reading is something I undertake very reluctantly. I have friends who swear by it, but to me it can feel like a waste of time. Last year I re-read just four books: Little Women, Give Me Everything You Have, Crossing the Moon, and Diary of a Bookseller. In each case, on the second reading I rated the book a star lower. That suggests that, far from appreciating books more on a second reading, I have less patience with them and find more flaws! All the same, I’ve chosen four books to re-read in 2019. The Collins is a longtime favorite about moving to Hay-on-Wye; the Thomas is one of the books that first got me into reading memoirs. I’ve been let down by Lamott’s latest three books so wanted to go back to one of her spiritual classics; I’ve gotten into L’Engle’s writing for adults and want to revisit her most famous children’s book (which I don’t think I comprehended at age nine or whatever I was).
- I have a bad habit of racing through self-help and theology books rather than taking my time mulling over them and fully exploring how I might apply them in my life. This was especially true of The Artist’s Way, one of my bibliotherapy prescriptions. I started out with the aim of completing the daily “morning pages” of free writing (though for me they were ‘evening pages’; I’m not a morning person) and each chapter’s self-knowledge exercises. But soon I’d given up on the writing and contemplation and begun just reading the book straight through, which is not the point of it at all. So this year I mean to go back through the Cameron and Rubin books more mindfully, and use the McLaren devotional as it is intended, reading the recommended Bible passages alongside the weekly reflections.
What are some of your goals (reading-related or otherwise) for 2019?
My Patchy Experience with Book Clubs
I know that a number of you have long-term, faithful book clubs. Boy, am I envious! You might find it surprising that I’ve only ever been in one traditional book club, and it wasn’t a resounding success. Partway through my time working for King’s College, London, an acquaintance from another library branch started the club. A group of five to eight of us from Library Services aimed to meet after work one evening a month at a Southbank venue or a staff room to discuss our latest pick. By poring over old e-mails and my Goodreads library, I’ve managed to remember 10 of the books we read between November 2011 and June 2013:
- Do Androids Dream of Electric Sheep?, Philip K. Dick [classic science fiction]
- The Little Shadows, Marina Endicott [Canadian historical fiction]
- A Spot of Bother, Mark Haddon [contemporary fiction]
- The Talented Mr. Ripley, Patricia Highsmith [classic suspense]
- The Vintner’s Luck, Elizabeth Knox [bizarre historical fiction/magic realism]
- What Was Lost, Catherine O’Flynn [contemporary fiction]
- Franny and Zooey, J.D. Salinger [classic short fiction]
- The Rabbi’s Cat, Joann Sfar [graphic novel in translation]
- Girl Meets Boy, Ali Smith [an update of Greek myth]
- Angel, Elizabeth Taylor [an obscure English classic]
That may well be the complete list. Although I was a member for 20 months until I quit to go freelance, we often only managed to meet every other month because we couldn’t find a mutually convenient free evening or no one had read the book in time. I was consistently frustrated that – even when our selections were only about 200 pages long – I was often one of the only people to have read the whole book.
Overall, the quality of books we chose struck me as mediocre: I rated half of these books 2 stars, and the rest 3 stars. (I think I was a harsher rater then, but it’s not a good sign, is it?) Perhaps this is part of the inevitable compromising that goes with book clubs, though: You humor other people in their choices and hope they’ll be kind about yours? My suggestion, for the record, was the pretty dismal Little Shadows, for which I got a free set of book club copies to review for Booktime magazine. But I also voted in favor of most of the above list.
Looking back, I am at least impressed by how varied our selections were. People were interested in trying out different genres, so we ranged from historical fiction to sci-fi, and even managed a graphic novel. But when we did get together for discussion there was far too much gossipy chat about work, and when we finally got around to the book itself the examination rarely went deeper than “I liked it” or “I hated all the characters.”
If it was profound analysis I was after, I got that during the years I volunteered at Greenbelt, an annual summer arts festival with a progressive Christian slant. I eagerly read the eclectic set of three books the literature coordinator chose for book club meetings in 2010 – Star of the Morning: The Extraordinary Life of Lady Hester Stanhope by Kirsten Ellis, The First Person and Other Stories by Ali Smith, and The Bridge of San Luis Rey by Thornton Wilder – and then as a literature volunteer for the next three years I read and prepared copious notes and questions about our festival “Big Read.” We did Exile by Richard North Patterson in 2011, Dark Eden by Chris Beckett in 2012 and So Many Ways to Begin by Chris Beckett in 2013, and each time I offered to chair the book club meetings.
Unfortunately, due at least in part to logistical considerations, these were run in the way many festival events are: a panel of two to five talking heads with microphones was at the front of the tent, sometimes on a raised dais, while the audience of whatever size sat towards the back. This created a disconnect between the “experts” and the participants, and with the exception of the McGregor meeting I don’t recall much audience input. I’ve mostly blanked out the events – as I tend to for anything that entails public speaking and nervous preparation for something you can’t control – but I was pleased to be involved and I should probably make more of this on my CV. It wasn’t your average book club setting, that’s for sure.
In recent years the closest thing I’ve had to a book club has been online buddy reading. The shadow panels for the Wellcome Book Prize and Sunday Times Young Writer of the Year Award fall into this category, as do online readalongs I’ve done for several Iris Murdoch novels and for C.S. Lewis’s Mere Christianity with various female family members. A few of us book bloggers chatted about Andrea Levy’s Small Island in an online document earlier this year, and my mom and I e-mailed back and forth while reading W. Somerset Maugham’s The Painted Veil in May. I’m also doing my last three of the #20BooksofSummer as online buddy reads, checking in occasionally on Twitter.
Of course, there are some inherent limitations to this kind of discussion – people read at different paces and don’t want to spoil the plot for others, and at some point the back-and-forth fizzles out – but it’s always been easier for me to organize my thoughts in writing, so I likely feel more comfortable contributing than I might in an in-person meeting.
This is all context for my decision to join my neighborhood book club next month. The club arose some months back out of our community’s Facebook group, a helpful resource run by a go-getting lady a few doors down from us. So far it’s turning out to be a small group of thirty- and fortysomething women who alternate meetings at each other’s houses, and the name they’ve chosen gives an idea of the tone: “Books, Booze and Banter.”
I made the mistake of not getting involved right at the start; I wanted to hang back and see what kind of books they’d choose. This means I wasn’t part of the early process of putting titles in a hat, so I’ve looked on snobbishly for several months as they lurched between crime and women’s fiction, genres I generally avoid. (Still, there were actually a couple books I might have joined them for had I not been in America and had they been readily available at the public library.) For many people a book club selection will be the only book they get through that month, so I can understand how they’d want it to be something ‘readable’ that they’d be happy to pick up anyway. Even though statistically I read 27 books a month, I’m still jealously protective of my reading time; I want everything I read to be worthwhile.
So for September I managed to steer the group away from a poorly received historical novel of over 400 pages and the new Joël Dicker and onto Ladder of Years by Anne Tyler, which the bookstore chain Waterstones has been promoting heavily as one of their books of the month. I already had a charity shop copy in hand and the others liked the sound of it, so we’re all set for September 12th! Future months’ literary fiction choices look promising, too, so provided I enjoy the discussion and the camaraderie I plan to stick with it: a backlist Pat Barker novel I’ve not read, and Kirsty Logan and Jonathan Coe novels I’ve read before and won’t reread but will remind myself about briefly before the meetings.
I’m out of practice with this book club thing. My mother tells me that I have a lot to contribute but that I must also be open to what I’ll learn from other people – even if I don’t expect to. So I don’t want to set myself up as some kind of expert. In fact, I probably won’t even mention that I’m a freelance book reviewer and book blogger. Mostly I’m hoping to find some friendly faces around the neighborhood, because even though we’ve lived here just over two years I still only know a handful of names and keep myself to myself as I work from home. Even if I have to read books I wouldn’t normally, it’ll be worth it to meet more people.
Bookish Beck = Rebecca Foster. American transplant to England. Freelance proofreader and book reviewer.