Tag Archives: Ruth Padel

The Wellcome Book Prize 2019 Awards Ceremony

The winner of the 10th anniversary Wellcome Book Prize is Murmur, Will Eaves’s experimental novel about Alan Turing’s state of mind and body after being subjected to chemical castration for homosexuality. It is the third novel to win the Prize. Although it fell in the middle of the pack in our shadow panel voting because of drastically differing opinions, it was a personal favorite for Annabel and myself – though we won’t gloat (much) for predicting it as the winner!

Clare, Laura and I were there for the announcement at the Wellcome Collection in London. It was also lovely to meet Chloe Metzger, another book blogger who was on the blog tour, and to see UK book v/blogging legends Eric Karl Anderson and Simon Savidge again.

The judges’ chair, novelist Elif Shafak, said, “This prize is very special. It opens up new and vital conversations and creates bridges across disciplines.” At a time when we “are pushed into monolithic tribes and artificial categories, these interdisciplinary conversations can take us out of our comfort zones, encouraging cognitive flexibility.” She praised the six shortlisted books for their energy and the wide range of styles and subjects. “Each book, each author, from the beginning, has been treated with the utmost respect,” she reassured the audience, and the judges approached their task with “an open mind and an open heart,” arriving at an “inspiring, thought-provoking, but we believe also accessible, shortlist.”

The judges brought each of the five authors present (all but Thomas Page McBee) onto the stage one at a time for recognition. Shafak admired how Sandeep Jauhar weaves together his professional expertise with stories in Heart, and called Sarah Krasnostein’s The Trauma Cleaner a “strangely life-affirming and uplifting book about a remarkable woman. … It’s about transitions.”

Doctor and writer Kevin Fong championed Amateur, his answer to the question “which of these books, if I gave it to someone, would make them better.” McBee’s Canongate editor received the recognition/flowers on the author’s behalf.

Writer and broadcaster Rick Edwards chose Arnold Thomas Fanning’s Mind on Fire for its “pressability factor” – the book about which he kept saying to friends and family, “you must read this.” It’s an “uncomfortably honest” memoir, he remarked, “a vivid and unflinching window, and for me it was revelatory.”

Writer, critic and academic Jon Day spoke up for Murmur, “a novel of great power and astonishing achievement,” about “what it means to know another person.”

Lastly, writer, comedian and presenter Viv Groskop spoke about Ottessa Moshfegh’s My Year of Rest and Relaxation, which she described as “Jane Eyre meets Prozac Nation.” The judges “had a lot of fun” with this novel, she noted; it’s “caustic, feminist … original, playful, [and] strangely profound.”

But only one book could win the £30,000 10th anniversary prize, and it was one that Shafak predicted will be “a future classic,” Murmur. Will Eaves thanked Charles Boyle of CB Editions for taking a chance on his work. He also acknowledged Alan Turing, who, like him, attended King’s College, Cambridge. As he read Turing’s papers, Eaves reported, he was gripped by the quality of the writing – “there’s a voice there.” Finally, in a clearly emotional moment, he thanked his mother, who died several years ago and grew up in relative poverty. She was a passionate believer in education, and Eaves encouraged the audience to bear in mind the value of a state education when going to the polls.

Photo by Eric Karl Anderson.

After the announcement we found Sarah Krasnostein, our shadow panel winner, and got a photo and a signature. She gave us the scoop on her work-in-progress, which examines six case studies, three from Australia and three from the USA, of people with extreme religious or superstitious beliefs, such as a widow who believes her husband was abducted by aliens. She’s exploring the “cognitive dissonance” that goes on in these situations, she said. Can’t wait for the new book!

Laura, Sarah Krasnostein, me pulling weird face, Clare.

I also congratulated Will Eaves, whose book I’d covered for the blog tour, and got a signature. Other ‘celebrities’ spotted: Suzanne O’Sullivan, Ruth Padel and Robin Robertson. (Also a couple of familiar faces from Twitter that I couldn’t place, one of whom I later identified as Katya Taylor.)

I again acquired a Wellcome goody bag: this year’s limited-edition David Shrigley tote (I now have two so will pass one on to Annabel, who couldn’t be there) with an extra copy of The Trauma Cleaner to give to my sister.

Another great year of Wellcome festivities! Thanks to Midas PR, the Wellcome Book Prize and my shadow panel. Looking forward to next year already – I have a growing list of 2020 hopefuls I’ve read or intend to read.

See also: Laura’s post on the ceremony and the 5×15 event that took place the night before.

Blog Tour Review: The Point of Poetry by Joe Nutt

Lots of adults are afraid of poetry, Joe Nutt believes. As a Midlands lad he loved going to the public library and had a magical first encounter with poetry at secondary school – the last time many people will ever read it. A former English teacher and Times Educational Supplement columnist who has written books about Shakespeare, Donne and Milton, he also spent many years in the business world, where he sensed apprehension and even hostility towards poetry. This book is meant as a gentle introduction, or reintroduction, to the joys of reading a poem for yourself.

The 22 chapters each focus on a particular poem, ranging in period and style from the stately metaphysical verse of Andrew Marvell to the rapid-fire performance rhythms of Hollie McNish. The pattern in these essays is to provide background on the poet and his or her milieu or style before moving into more explicit interpretation of the poem’s themes and techniques; the poem is then generally printed at the end of the chapter.*

I most appreciated the essays on poems I already knew and loved but gained extra insight into (“Blackberry-Picking” by Seamus Heaney and “The Darkling Thrush” by Thomas Hardy) or had never read before, even if I knew other things by the same poets (“The Bistro Styx” by Rita Dove and “The Sea and the Skylark” by Gerard Manley Hopkins). The Dove poem echoes the Demeter and Persephone myth as it describes a meeting between a mother and daughter in a Paris café. The mother worries she’s lost her daughter to Paris – and, what’s worse, to a kitschy gift shop and an artist for whom she works as a model. Meanwhile, Heaney, Hardy and Hopkins all reflect – in their various, subtle ways – on environmental and societal collapse and ask what hope we might find in the midst of despair.

Joe Nutt

Other themes that come through in the chosen poems include Englishness and countryside knowledge (E. Nesbit and Edward Thomas), love, war and death. Nutt points out the things to look out for, such as doubling of words or sounds, punctuation, and line length. His commentary is especially useful in the chapters on Donne, Wordsworth and Hopkins. In other chapters, though, he can get sidetracked by personal anecdotes or hang-ups like people not knowing the difference between rifles and shotguns (his main reason for objecting to Vicki Feaver’s “The Gun,” to which he devotes a whole chapter) or Bob Dylan winning the Nobel Prize. These felt like unnecessary asides and detracted from the central goal of celebrating poetry. One can praise the good without denigrating what one thinks bad, yes?

*Except for a few confusing cases where it’s not. Where’s Ted Hughes’s “Tractor”? If reproduction rights couldn’t be obtained, a different poem should have been chosen. Why does a chapter on Keats’s “The Eve of St. Agnes” quote just a few fragments from it in the text but then end with a passage from Shakespeare’s Venus and Adonis (ditto with the excerpt from Donne that ends the chapter on Milton)? The particular Carol Ann Duffy and Robert Browning poems Nutt has chosen are TL; DR, while he errs to the other extreme by not quoting enough from The Rime of the Ancient Mariner and Paradise Lost, perhaps assuming too much audience familiarity. (I’ve never read either!)

So, overall, a bit of a mixed bag: probably better suited to those less familiar with poetry; and, oddly, often more successful for me in its generalizations than in its particulars:

if you once perceive that poetry operates on the edges of man’s knowledge and experience, that it represents in art a profoundly sincere attempt by individuals to grapple with the inexorable conditions of human life, then you are well on the way to becoming not just a reader of it but a fan.

The poet’s skill is in making us look at the world anew, through different, less tainted lenses.

A poem, however unique and strange, however pure and white the page it sits on, doesn’t enter your life unaccompanied. It comes surrounded by literary echoes and memories, loaded with the past. That’s why you get better at understanding [poems], why you enjoy them more, the more you read.

Poetry is so often parsimonious. It makes us work for our supper.

Rossetti deliberately avoids certainty throughout. I enjoy that in any poem. It makes you think.

There is really only one response to great poetry: an unqualified, appreciative ‘yes’.

 

Related reading:

(I have read and can recommend all of these. Padel’s explication of poetry is top-notch.)

 


The Point of Poetry was published by Unbound on March 21st (World Poetry Day). My thanks to the publisher for a free copy for review.

See below for where other reviews have appeared or will be appearing soon.

New Networks for Nature 2018

This past weekend was my fourth time attending part of Nature Matters, the annual New Networks for Nature conference. I’ve written about it here a couple of times, once when there was a particular focus on nature poetry and another time when it was held in Cambridge. This year it was back in Stamford for a last time for the 10th anniversary. Next year: York.

What’s so special about the conference is its interdisciplinary nature: visual artists, poets, musicians, writers, politicians, academics and conservationists alike attend and present. So although the event might seem geared more towards my biologist husband, there’s always plenty to interest me, too. The roster is a who’s who of British nature writing: Mark Avery, Tim Birkhead, Mark Cocker, Mary Colwell, Miriam Darlington, Richard Kerridge, Peter Marren, Michael McCarthy, Stephen Moss, Adam Nicolson, Katharine Norbury, Ruth Padel, Laurence Rose and Mike Toms were all there this year. I also appreciate the atmosphere of friendly disagreement about what nature is and how best to go about conserving it.

I attended on Friday, a jam-packed day of sessions that began with Bob Gibbons presenting on the flowers and wildlife of Transylvania, a landscape and culture that are still almost medieval in character. Then Jeremy Mynott interviewed Mark Cocker about his latest book, Our Place: Can We Save Britain’s Wildlife before It Is Too Late? I’ve read other Cocker books, but not this one yet. Its main point seems to be that the country’s environmental organizations need to work together. Individuals and NGOs are doing passionate and wonderful things towards nature conservation, Cocker said, but overall “we ain’t getting there.” Bad news doesn’t sell, though, he noted: his book has sold just 6,000 copies compared to 30,000 for Wilding, Isabella Tree’s story of the rewilding success at Knepp.

Mark Cocker

Cocker refused to define nature in a one-sentence soundbite, but argued that we have to consider ourselves a part of it rather than thinking about it as a victim ‘out there’ (the closest he came to a definition was “the totality of the system we are a part of”). “Our responsibility, terrifyingly, is unending,” he said – every time you open a new plastic toothbrush, you can’t forget that the old one you throw away will effectively be around forever. Our Place isn’t just composed of polemic, though: it’s structured around six beloved landscapes and finds moments of transcendence in being out in nature. You find hope by walking out the door, feeling the wind on your face and hearing the starling singing, Cocker remarked. He closed by reading a description from the book of the north Norfolk coast.

Either side of lunch were panels on how social media (mostly Twitter, plus smartphone apps) can serve nature and the role that poetry might play in environmental activism, with a brief interlude from visual artist Derek Robertson, who responded to the refugee crisis by traveling to Calais and Jordan and painting human figures alongside migratory birds. In the poetry session I especially enjoyed hearing from Ben Smith, a University of Plymouth lecturer and poet with a debut novel coming out in April 2019 (Doggerland, from Fourth Estate). He recently collaborated with Dr. Lee de Mora on a set of poems inspired by the Earth System Model, which provides the data for the International Panel on Climate Change. Climate modeling might seem an odd subject for poetry, but it provides excellent metaphors for failure and hope in “Spinning Up,” “Data Sets” and “Alternate Histories.”

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Ben Smith’s poem links unlikely subjects: surfing and climate modeling. Photo by Chris Foster.

Birmingham lecturer Isabel Galleymore, whose debut collection Significant Other is coming out from Carcanet Press in March, talked about how she uses the tropes of love poetry (praise, intimacy, pursuit and loss) when writing about environmental crisis. This shift in her focus began at university when she studied Wordsworth through an ecocritical lens, she said. Jos Smith and Luke Thompson were the other two poets on a panel chaired by Matt Howard. Howard quoted Keats – “We hate poetry that has a design on us” – and asked the poets for reactions. Smith agreed that polemic and poetry don’t mix well, yet said it’s good to have a reason for writing. He thinks it’s best when you can hold two or more ideas in play at a time.

After tea and a marvelous cake spread, it was time for a marathon of three sessions in a row, starting with three short presentations on seabirds: one by a researcher, one by a nature reserve manager, and one by a young artist who produced Chinese-style scroll paintings of the guillemot breeding colonies on Skomer and exhibited them in Sheffield Cathedral.

Next up was a highlight of the weekend: Green Party MP Caroline Lucas and Labour peer Baroness Barbara Young conversed with Michael McCarthy on the topic “Can Conventional Politics Save the Environment?” Both decried short-term thinking, the influence of corporations and the media, and government departments not working together. No one was ever elected on the promise of “less,” McCarthy suggested, but in reply Lucas talked about redefining terms: less of what? more of what? If we think in terms of quality of life, things like green energy and the sharing economy will become more appealing. She also believes that more people care about green issues than we think, but, e.g., a London mum might speak out about air quality without ever using the word “environment.” Baroness Young concluded that “adversarial politics, flip-flopping between parties, isn’t working” and we must get beyond it, at the local level if nothing else. That rang true for me for American politics, too.

Young, McCarthy and Lucas. Photo by Chris Foster.

Before the day ended with a drinks reception, we were treated to a completely different presentation by Lloyd Buck, who raises and trains birds, mostly for television footage. So, for instance, the greylag geese flying in formation alongside the boat in David Attenborough’s 2012 Sixty Years in the Wild TV special had imprinted on Lloyd’s wife, Rose. Buck spoke about bonding with birds of very different personalities, and introduced the audience to five starlings (who appeared in Poldark), a peregrine, a gyrfalcon, a golden eagle, and Bran the raven, who showed his intelligence by solving several puzzles to find hidden chunks of meat.

I purchased two books of poetry from the bookstall – I had no idea Darlington had written poetry before her nature books – and the conference brochure itself is a wonderful 75-page collection of recent artwork and short nature writing pieces, including most of the presenters but also Patrick Barkham, Tim Dee, Paul Evans, Philip Hoare, Richard Mabey, Helen Macdonald and Chris Packham – a keynote speaker announced for next year. I’ve been skipping through the booklet and have most enjoyed the pieces by Melissa Harrison and Helen Scales so far. Altogether, an inspiring and worthwhile weekend.

Would any of the conference’s themes or events have interested you?

National Poetry Day: William Sieghart’s The Poetry Pharmacy

Today is National Poetry Day in the UK, and there could be no better primer for reluctant poetry readers than William Sieghart’s The Poetry Pharmacy. Consider it the verse equivalent of Berthoud and Elderkin’s The Novel Cure: an accessible and inspirational guide that suggests the right piece at the right time to help heal a particular emotional condition.

Sieghart, a former chairman of the Arts Council Lottery Panel, founded the Forward Prizes for Poetry in 1992 and National Poetry Day itself in 1994. He’s active in supporting public libraries and charities, but he’s also dedicated to giving personal poetry prescriptions, and has taken his Poetry Pharmacy idea to literary festivals, newspapers and radio programs.

Under five broad headings, this short book covers everything from Anxiety and Convalescence to Heartbreak and Regret. I most appreciated the discussion of slightly more existential states, such as Feelings of Unreality, for which Sieghart prescribes a passage from John Burnside’s “Of Gravity and Light,” about the grounding Buddhist monks find in menial tasks. Pay attention to life’s everyday duties, the poem teaches, and higher insights will come.

I also particularly enjoyed Julia Darling’s “Chemotherapy”—

I never thought that life could get this small,

that I would care so much about a cup,

the taste of tea, the texture of a shawl,

and whether or not I should get up.

and “Although the wind” by Izumi Shikibu:

Although the wind

blows terribly here,

the moonlight also leaks

between the roof planks

of this ruined house.

Sieghart has chosen a great variety of poems in terms of time period and register. Rumi and Hafez share space with Wendy Cope and Maya Angelou. Of the 56 poems, I’d estimate that at least three-quarters are from the twentieth century or later. At times the selections are fairly obvious or clichéd (especially “Do Not Stand at My Grave and Weep” for Bereavement), and the choice of short poems or excerpts seems to pander to short attention spans. So populist is the approach that Sieghart warns Keats is the hardest of all. I also thought there should have been a strict one poem per poet rule; several get two or even three entries.

If put in the right hands, though, this book will be an ideal introduction to the breadth of poetry out there. It would be a perfect Christmas present for the person in your life who always says they wish they could appreciate poetry but just don’t know where to start or how to understand it. Readers of a certain age may get the most out of the book, as a frequently recurring message is that it’s never too late to change one’s life and grow in positive ways.

“What people need more than comfort is to be given a different perspective on their inner turmoil. They need to reframe their narrative in a way that leaves room for happiness and gratitude,” Sieghart writes. Poetry is a perfect way to look slantwise at truth (to paraphrase Emily Dickinson) and change your perceptions about life. If you’re new to poetry, pick this up at once; if you’re an old hand, maybe buy it for someone else and have a quick glance through to discover a new poet or two.

My rating:

My thanks to Particular Books for the free copy for review.

 


Do you turn to poetry when you’re struggling with life? Does it help?

 

Related reading:

Books I’ve read and enjoyed:

  • The Hatred of Poetry by Ben Lerner
  • 52 Ways of Looking at a Poem by Ruth Padel
  • The Poem and the Journey and 60 Poems to Read Along the Way by Ruth Padel

Currently reading: Why Poetry by Matthew Zapruder

On the TBR:

  • Poetry Will Save Your Life: A Memoir by Jill Bialosky
  • How to Read a Poem by Molly Peacock

Blog Tour: Foxes Unearthed by Lucy Jones

Cold, delicately as the dark snow

A fox’s nose touches twig, leaf;

[…]

Across clearings, an eye,

A widening deepening greenness,

Brilliantly, concentratedly,

Coming about its own business

~Ted Hughes, “The Thought-Fox” (1957)

Foxes Unearthed, freelance journalist Lucy Jones’s first book, won a Society of Authors’ Roger Deakin Award for nature writing. If you’re familiar with Patrick Barkham’s Badgerlands, you’ll recognize this as a book with a comparable breadth and a similar aim: clearing the reputation of an often unfairly reviled British mammal. Jones ranges from history to science and from mythology to children’s literature in her search for the truth about foxes. Given the media’s obsession with fox attacks, this is a noble and worthwhile undertaking.

The book proper opens with a visit to Roald Dahl’s house, now a Buckinghamshire museum, where he wrote Fantastic Mr. Fox. Still one of the best-known representations of foxes in British literature, Dahl’s Mr. Fox is a Robin Hood-like hero, outsmarting a trio of mean-spirited farmers to provide a feast for his family. Foxes’ seemingly innate wiliness prompts ambivalent reactions, though; we admire it, but we also view it as a threat or an annoyance. As Jones puts it, the fox of fables and traditional stories is “a villain we cheer for.”

Not everyone cheers, of course. Under Henry VIII, the Vermin Acts of 1532 (not repealed until the 1750s) promised a reward to anyone who killed foxes, then considered a nuisance animal. Fox hunting and the cruel sport of “tossing” have a long history that eventually came up against the movement towards animal welfare, starting with Jeremy Bentham in the 1740s and codified by the 1911 Protection of Animals Act. Meanwhile, Jones notes, children’s books advocating compassion for animals, such as Anna Sewell’s Black Beauty (1877), ensured that the message made it out of the legislative chamber and into everyday life.

The second chapter is a useful survey of fox behavior. Foxes are omnivores, and in recent decades have started to move into Britain’s cities, where they find plenty of food to scavenge. In rural settings, foxes are still the subject of farmers’ loathing even though they rarely take lambs and actually help keep rabbit numbers in check. Still, the stereotype of foxes killing for fun instead of for hunger persists, whereas they in fact cache their surplus food. Chapter 3 asks whether fox numbers have reached pest status and considers various control strategies, from straightforward culling to the non-lethal methods supported by conservationists.

I enjoyed Jones’s meetings with figures from both sides of the debate. She goes along on a fox hunt, but also meets or quotes animal rights activists, academics, and high-profile nature promoters like Chris Packham. All told, though, I felt the book could have been closer to 200 pages than 300. Most chapters are very long, and some could easily be combined and/or shortened. For instance, Chapter 1 relays the amount of information about fox hunting that most readers will be prepared to absorb, yet it’s then the subject of two more chapters.

At the British Wildlife Centre in Surrey. Photo by Chris Foster.

This is an important book for correcting misconceptions, but your enjoyment of it may be in proportion to your personal interest in the subject. In terms of fonts and cover design, though, you’re unlikely to come across a more gorgeous book this year.

Foxes Unearthed was published in paperback by Elliott & Thompson on March 16th. Thanks to Alison Menzies for arranging my free copy for review.


To encounter foxes in fiction, try the following:

& the forthcoming How to Be Human by Paula Cocozza (April 6th).

 

Tidings by Ruth Padel & Other Christmassy Reading

img_0834Ruth Padel is one of my favorite poets, so I jumped at the chance to read her new book-length holiday poem, Tidings: A Christmas Journey. Set across one Christmas Eve and Christmas day and narrated by Charoum, the Angel of Silence, the poem switches between Holly, a seven-year-old girl excited for Christmas, and Robin, a forty-four-year-old homeless man who follows a fox to a Crisis Centre. Here he gets a hot meal and some human kindness to make up for the usual bleakness of the holidays:

Christmas is the salt mine.

Salt in the wound, a nothing-time.

I was loved once. Who by? Can’t remember.

I especially liked the fragments that juxtapose this contemporary London story with centuries of history:

Up here the evening glides over golden moss

on the flat-top tomb of Mary Wollstonecraft

&

Pagan Christmas fizzes and teems with ghosts,

midwinter fires, mummers and waites, Yule

logs and mistletoe.

The poem also journeys to Jerusalem and Rome to survey a whole world of Christmas traditions, then and now.

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It’s a lovely little volume, with the red, black and white theme offset by touches of gold. The illustrations are gorgeous, but the story line disappointed me: starting with the character names, it all felt rather clichéd. Padel has treated urban foxes much more successfully in her collection The Soho Leopard, and apart from a very few instances – like the above quotes – the verse struck me as largely undistinguished, even awkward (like the out-of-place clinical vocabulary in “Love, / and the lack of it, can change the limbic brain”). This means that, for me, this book fails to earn a place as a Christmas classic I’ll reread year after year.


Tidings was published in the UK by Chatto & Windus on November 3rd. My thanks to Cat Mitchell of Random House for the free review copy.

My rating: 3-star-rating

 

Other Christmassy Reading

waiting-on-the-wordThis year I’m resuming my place in Waiting on the Word, Malcolm Guite’s selection of religious-slanted poems to read from the start of Advent through Epiphany. For those who want to explore the history and interpretation of Christmas, I can recommend The First Christmas by the late Marcus Borg, one of my favorite progressive theologians.

As I have for the past several years, I’ll dip into The Ecco Book of Christmas Stories, edited by Alberto Manguel. My favorites are by Truman Capote, John Cheever, Jane Gardam and Jeanette Winterson (who has a brand-new, full-length Christmas story collection out this year). I’ll also sample some Russian classics via A Very Russian Christmas, which has short stories from Tolstoy, Chekhov and more.

very-russianIn addition, I have Cleveland Amory’s The Cat Who Came for Christmas and The Cat Who Stayed for Christmas out from the library, which should make for some very cozy reading under the cat. I’ll browse the numerous Christmas-themed poems in U.A. Fanthorpe’s Collected Poems, another library book. And I may even deign to try Hogfather, one from my husband’s beloved Discworld series by the late Terry Pratchett.

[See also this wonderful list of Christmas reading suggestions from Heaven Ali.]


Are you reading anything special this Christmas season?

What Is Nature (Poetry) For?

I’ve been pondering this question thanks to an excellent conference my husband and I attended in Stamford in the middle of November: New Networks for Nature. This is the third year my husband (a teaching associate in the biology department at the University of Reading) has participated, and the second year in a row I’ve chosen one day to go. Last year I had the privilege of seeing some truly phenomenal nature writers. Dave Goulson spoke about his efforts to protect bumblebees; Helen Macdonald gave a reading from H is for Hawk; and Paul Evans and Mark Cocker were on a panel about being Guardian country diarists.

This year one of the conference highlights was a debate between Guardian journalist and rewilding proponent George Monbiot (Feral) and Tony Juniper (What Has Nature Ever Done for Us?), former head of Friends of the Earth. The topic: Is nature an economic resource or a thing of intrinsic value? Both gentlemen came out swinging and were at their most convincing.

Unless we make an economic case for preserving nature (pollinators, hydroelectric power, ecotourism), Juniper believes, we will lose it. If we reframe our approach to play on bastard politicians’ turf, Monbiot counters, we’ve already lost our integrity. Nature is worth saving for its own sake; the problem is not our arguments but our lack of power.

I tended to agree with Juniper: we aren’t winning the conservation debate in any other way, so why not introduce financial incentives? This doesn’t stop us from appreciating nature for aesthetic and spiritual reasons; it’s just another strategy.

I amused myself by imagining the opponents as a solitary noble knight waving the flag of idealism (Monbiot) and a new Noah packing nature into a money-papered Trojan horse to trick the pesky government (Juniper).

Male house sparrow. Courtesy of Chris Foster

Male house sparrow. Courtesy of Chris Foster

If these two, in a roundabout way, pondered what nature is for, the previous session had asked more specifically what nature poetry is for. Led by Ruth Padel, one of my favorite poets, the roster also included Jo Shapcott and Pascale Petit. Each read from her work for 15 minutes and then together they answered audience questions as a panel.

I’d never heard of Petit but ended up loving her poems – they were the highlight of my day. One was about the piece of land her mother left her in France; she asked herself in what sense she could possess the place, and soon realized that it was really a pair of resident kingfishers who owned it. She writes around her difficult childhood, imagining a father who could never be cruel to birds – but then picturing him polishing off an ortolan bunting as his last meal, as Mitterrand was said to do. Along with birds, big cats provide many of the metaphors in her work, including Aramis, a black jaguar in the Paris Zoo, and the jaguar corridor in Belize.

Padel read “The Alligator’s Great Need and Great Desire,” followed by several poems from The Mara Crossing that she had written for members of the conference steering committee, such as one about storm petrels off the Skelligs and a snippet of biographical verse about Audubon. The lovely “Nocturne” commemorates nightly jellyfish migration, a “ghostly flotilla.”

She also read one that she said was the closest she gets to an angry poem: “The Forest, the Corrupt Official and a Bowl of Penis Soup” (from 2004’s The Soho Leopard), on the absurdity of killing rare animals – in this case the tiger – so their parts can be used in medicine or cuisine. Her final reading, from memory, was “Tiger Drinking at Forest Pool”; I nearly teared up when she spoke of “Sadness healed. Haven, in the mind, // To anyone hurt by littleness.”

Shapcott read two series of wildlife-themed poems. The first set, commissioned by Padel for the Zoological Society of London, was about the slender loris, which is also suffering from its use in traditional medicine as well as habitat loss. The second was a sequence about beekeeping, from the perspective of a woman who has just been left by a beekeeper. “Telling the Bees” reflects the folk belief that you have to inform bees of major events or they will leave; it ends “he’s gone, honeys; now you’re mine.” As the poem cycle continues, the hive becomes incorporated into her body until she can’t be separated from the bees.

Padel prefaced the discussion by asking how poetry should be in the face of extinctions and the destruction of the planet. She believes a sophistication of voice and expression is required; it’s not a matter of grabbing people by the lapels and saying “LOOK AT THIS,” but of putting the details together and being a witness.

Buff-tailed bumblebee. Courtesy of Chris Foster.

Buff-tailed bumblebee. Courtesy of Chris Foster.

Shapcott echoed her with Heidegger’s query – what is the poet for in a desperate time? She reiterated that the poet should hold up key questions and let them resonate in people’s imaginations, not force-feed answers. Petit added that in her poetry birds are metaphors for the exploitation for the weak. All three agreed poetry is about embodiment, sensory response to the world – essential since we live least in our bodies of any species, Shapcott observed.

The theme of this year’s conference was “Place and Belonging,” and it struck me that all three poets were responding to the idea that nature belongs to us and can be used like any other possession. Instead, they reply, we should think about the places we belong to, and how we can serve rather than exploit nature. But the key is not to spell that out in polemic verse, but rather to speak of life’s particulars and hope that we manage to point to the universal.

I’ll end with part of a stanza from Padel’s “The Watcher” that seems to reinforce the personal, spiritual value of nature that so much of the conference suggested:

      Quest for the sacred. And if I

could track that one stork down

on its winter ground, maybe I’d know

what has become of life and me

and where to go. I’d pour libations, follow

the omen, set up sacrifice

to the god of wayfarers, even pay a call

on the seer who decodes

the flight of birds. I’d prophesy.

Small Books Are Good, Too

Last week I wrote in praise of doorstoppers – books over 500 pages. But I also love really short books: there’s just as much writing skill involved in making a narrative concise, and it can be supremely satisfying to pick up a book and polish it off within a couple hours, especially if you’re in a situation of captured attention as on a plane. Being honest and slightly selfish for a moment, short books are also a great way to build up a flagging year list.

Below I highlight poetry collections, memoirs, short stories and novellas that should be on your agenda if you’re looking for a quick read (number of pages in brackets after each title):

Poetry

I try to always have a book of contemporary poetry on the go, usually by a British poet since I pluck these at random from my local public library shelves. Poetry collections aren’t always ‘quick’ reads, nor should they be, because you often have to read a poem more than once to understand it or truly appreciate its techniques. Still, with most poetry books numbering somewhere between 45 and 90 pages, even if you parcel them out over days or weeks they’ll take much less time than a novel. Pick up something by Mark Doty, Kathleen Jamie, David Harsent or Christopher Reid and you’ll have plenty of beautiful verse to ponder.

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Recently reviewed and recommended:


Short Memoirs

Depending on how thorough they are, autobiographies can often hover around 300 or 400 pages. Looking through my shelves, though, I’ve spotted a few in the 140–160 page range: My Movie Business by John Irving [158], The Diving-Bell and the Butterfly by Jean-Dominique Bauby [139], and Winter by Rick Bass [162]. Another short one well worth reading is the unusual The Sound of a Wild Snail Eating by Elisabeth Tova Bailey [170], a story about debilitating illness and taking comfort from nature.

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Abigail Thomas, one of my favorite memoirists, writes in an episodic style that makes her 200-page books fly by as if they were half that length. Also, Anne Lamott has written two very short faith memoirs that would serve as a good introduction to her style and content for those who haven’t read Traveling Mercies et al.: Help Thanks Wow [102] and Stitches [112].

Recently reviewed and recommended:


Short Stories

I used to shy away from short stories because I didn’t think they were worth the emotional investment, but recently I’ve decided I really like the rhythm of picking up a set of characters, a storyline and a voice and then, after 20 or so pages, following an epiphany or an aporia (or utter confusion), trading them in for a whole new scenario. Short stories are also the perfect length for reading during a quick meal or car ride. Two short story collections made it onto my “Best of 2014” list: White Man’s Problems by Kevin Morris and The Heaven of Animals by David James Poissant.

Recently reviewed and recommended (no page numbers listed here because each story can stand alone):


Novellas

With some credits for free Penguin books I got hold of Borges and the Eternal Orang-Utans by Luis Fernando Verissimo (translated from the Portuguese by Margaret Jull Costa) [135], a book I’d been hankering to read ever since I came across that terrific title. It’s an enjoyable academic comedy and locked room mystery, with nods to Borges and Poe (though I probably didn’t get them all).

 

I also recently discovered Peirene Press, which exclusively publishes novellas in translation. Their motto is “Contemporary European Literature. Thought provoking, well designed, short.” They publish the novellas in thematic trilogies, with headings such as “Male Dilemma: Quests for Intimacy” and “Small Epic: Unravelling Secrets.” The book I own from Peirene (scored from a secondhand bookshop in Henley-on-Thames for £1), from the “Turning Point: Revolutionary Moments” series, is Mr. Darwin’s Gardener by Kristina Carlson [122] (translated from the Finnish by Emily and Fleur Jeremiah).

It’s an odd little book, with a mixture of past and present tense and first-, third- and first-person plural narration. Set in the village of Downe, it’s peripherally about the title character, Charles Darwin’s gardener Thomas Davies, a new widower with two children, one of whom has Duchenne muscular dystrophy (newly identified). It’s thin on plot, it must be said. Daniel Lewis, the verger of Downe for five years, was dismissed for stealing from the church and is beaten up when he comes back to town; some characters think and talk about Darwin’s theory and Davies’s bereavement; there’s an overturned cart.

My favorite section, “At the Anchor,” is composed of conversations at the village pub, and my favorite individual lines reflect on Darwin’s influence on contemporary thought:

“Mr Darwin is a tree that spreads light, Thomas Davies thinks.”

“Great men are remembered, like Mr Darwin, a genuine monolith. We small folk are mere sand, washed by the waves as they go back and forth.”

“People in future decades and centuries will react to our ideas superciliously, as if we were children playing at thinking. We shall look most amusing in the light of new thoughts and inventions.”

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If you’re looking to get through a classic in an afternoon, why not try one of these (full text available for free online through Project Gutenberg or other initiatives): Animal Farm by George Orwell [95], Ethan Frome by Edith Wharton [181] or Flush by Virginia Woolf (her spoof ‘biography’ of Elizabeth Barrett Browning’s cocker spaniel) [108]. E. M. Forster’s novels also read very quickly, and several of John Steinbeck’s novels are quite short. Whether or not you’ve seen the Audrey Hepburn movie, you’ll want to read the sparkling, bittersweet Breakfast at Tiffany’s by Truman Capote [100]; my edition also includes several of his best known short stories, including the wonderful “A Christmas Memory.”

Four novellas together don't stack up very far compared to the Oxford Dictionary of Quotations.

Even four novellas put together don’t stack up very far compared to the Oxford Dictionary of Quotations.

I recently finished The Bookshop by Penelope Fitzgerald [123]; all her books are similarly concise, so you may want to give her a try. The next novella on the pile for me is Ellen Foster by Kaye Gibbons [126]. I had never heard of the author, but the title and description lured me into buying it from a library book sale on a trip back to America (for 25 cents, why not?!). It’s a Southern Gothic story with an eleven-year-old narrator whom Walker Percy likened to Holden Caulfield. The alluring first line: “When I was little I would think of ways to kill my daddy.”

 

For more ideas, see these two Publishers Weekly’s lists:

10 Best Books Shorter than 150 Pages” (only repeats one of my suggestions)

10 Best Short Story Collections You’ve Never Read

 

Off topic, but today is a milestone for me: it marks exactly two years that I’ve been a freelance writer!


Are you fond of short books? Do you prefer them to doorstoppers? What are some of your favorite novellas? All comments welcome!