Tag: Sarah Moss

Wellcome Prize Shortlist, Part 1: de Kerangal and Kalanithi

I’m delighted to announce the final members of our Wellcome Book Prize 2017 shadow panel:

Ruby blogs at My Booking Great Blog.

GrrlScientist is an ornithologist and science journalist who was on the judging panel for the 2016 Royal Society Insight Investment Science Book Prize.

Along with Paul and Amy, this brings us up to five people – the same number as the official judging panel.


Luckily, I’ve already read two of the shortlisted titles, one quite recently and one nearly a year and a half ago. Here are the reviews I published on Goodreads at the time. I’ll be getting both books back out of the library soon to have another look before we choose our winner.


Mend the Living by Maylis de Kerangal

(translated from the French by Jessica Moore; published in the USA as The Heart)

[This is the French author’s second novel to be translated into English. It has been made into a film and won the Prix Orange du Livre and the Grand prix RTL du livre. It was also recently shortlisted for the Albertine Prize, an American readers’ choice award for contemporary French fiction. If you’re based in the States, feel free to vote by April 30th!]


Nineteen-year-old Simon Limbeau is declared brain dead in a French hospital after a car accident, but his heart lives on: metaphorically through the love of his parents, sister, friends, and girlfriend; but also literally, in the recipient of his organ donation. Again and again de Kerangal makes a distinction between the physical reality of organs and what they represent: “Simon’s eyes are not just his nervous retina, his taffeta iris, his pupil of pure black in front of the crystalline – they are also his gaze; his skin isn’t just the threaded mesh of his epidermis, his porous cavities – it’s his light and his touch, the living sensors of his body.”

The novel spends time with Simon’s family, especially his mother, but also with the transplant coordinator, the surgeons, the nurse, and so on. I was reminded of ER as well as the French TV show The Returned – this would work really well on screen, and would be a way of avoiding the more off-putting aspects of the author’s style. She writes long, run-on sentences: sometimes half a page, sometimes even stretching to two pages, and stuffs her prose with abstruse vocabulary (or at least that’s how the translator has rendered it), a lot of it medical but some of it simply inaccessible: “emollient conjugality” plus at least a dozen English words I’d never encountered (e.g. abulic, tumid, atony, claudicant, auscultation, precellence, torticollis, naevi, scialytic).

The worst example of the unnecessary opacity is “the digitigrade gait of the sardana dancer when he’s nearing a quintal, the corpulence of an ex-obese man calibrating him in thickness, in fullness, but without visible excrescence” – in plain English, the guy is stocky.


Read in November 2016.

My rating:

My gut feeling: The novel gives a vivid sense of the fragility of life and imbues parts of the body with metaphorical meaning. However, I think the style makes it too inaccessible and I can’t see its appeal ever being more than niche.


More reviews:

Annabel’s at Shiny New Books

Carolyn’s at Rosemary and Reading Glasses

 

When Breath Becomes Air by Paul Kalanithi

[The first posthumous nominee for the Wellcome Book Prize. I’ll be interested to see what I make of this one when I revisit it.]


Paul Kalanithi was 36 and just completing his neurosurgery residency in Stanford, California when he was diagnosed with advanced lung cancer that did not respond well to treatment. It came as a complete surprise to this non-smoker, and set his life on a new course. He and his coterie of doctors managed his symptoms so he could operate for as long as possible, but when the time came he knew he wanted to devote his last year to writing this memoir. In addition, he would get a brief, sweet taste of fatherhood: he and his wife Lucy, also in the medical field, decided to have a child, a daughter named Cady.

Kalanithi grew up the son of Indian immigrants in Arizona. “I was driven less by achievement than by trying to understand, in earnest: What makes human life meaningful?” he recalls. Degrees in English literature and human biology were disparate attempts to find an answer. Like Henry Marsh (Do No Harm), he has a surgeon’s knowledge of the anatomy of reasoning, but realizes that does not provide the full picture. He recognizes the responsibility of holding others’ lives in the balance, and regrets occasional failures of empathy.

Those burdens are what make medicine holy and wholly impossible: in taking up another’s cross, one must sometimes get crushed by the weight.

It’s intriguing to see religious language in that statement – indeed, Kalanithi saw his work as a calling, and one with moral connotations. Christian imagery shows up repeatedly:

Instead of being the pastoral figure aiding a life transition, I found myself the sheep, lost and confused.

Openness to human relationality does not mean revealing grand truths from the apse; it means meeting patients where they are, in the narthex or nave, and bringing them as far as you can.

When’s the last time you encountered the word “narthex”?! The vocabulary is striking throughout, as in another favorite passage: “A tureen of tragedy was best allotted by the spoonful. Only a few patients demanded the whole at once; most needed time to digest.”

Kalanithi died in March 2015. In addition to the foreword by Abraham Verghese, there’s a lovely epilogue from his widow, who’s more than competent to carry on his legacy.

I appreciate stories lived on the knife edge of life and death, but I would recommend this to those who don’t normally choose to read illness narratives, simply for the beauty of its prose – a fine blend of literature and medicine – and the wholehearted picture of a life cut short.


Read in October 2015 (Random House were looking for early readers via NetGalley).

My rating:

My gut feeling: I suspect this is by far the most popular and best-selling title on this year’s shortlist. So many people have taken it to their hearts. It will take a truly special book to knock it from the top spot.


More reviews:

Shadow panelist Paul’s at Nudge

Shadow panelist Ruby’s at My Booking Great Blog

Susan’s at A life in books


Shortlist strategy:

Currently reading: The Tidal Zone by Sarah Moss – about halfway through.

Up next: Whichever of the remaining nonfiction titles turns up to the library for me first!

I’ve also sent off an emergency e-mail to Bodley Head asking for a copy of Ed Yong’s I Contain Multitudes; it’s on loan through my library system until April 19th, which gives me no time to read it even if it comes back on time.

Wellcome Book Prize 2017 Shadow Panel

Newsflash! I’ve started a shadow panel of readers who will make our way through the six medical-themed titles shortlisted for the Wellcome Book Prize and deliberate to choose our own winner before the official prize announcement on Monday, April 24th. I hope to get the panel up to five – I’ve been in contact with a couple of science journalists via Twitter – but for now we are three, including:

Paul Cheney: blogs at Halfman, Halfbook and writes for Nudge’s Book Life section.

Amy Pirt: blogs at This Little Bag of Dreams and writes for Mookychick and g3 magazine.


The Wellcome Book Prize is an annual award sponsored by the Wellcome Trust, a global charitable foundation founded by Sir Henry Wellcome in 1936 and dedicated to improving health. The current incarnation of the prize has been running since 2009 and the winner gets a whopping £30,000. Books are nominated by their publishers, and for the 2017 award cycle they must have been issued in the UK between January 1, 2016 and December 31, 2016.

One thing that’s unique about the Wellcome Prize is that both fiction and nonfiction books are eligible. Here’s how the website describes the aim of the prize:

To be eligible for entry, a book should have a central theme that engages with some aspect of medicine, health or illness. At some point, medicine touches all our lives. Books that find stories in those brushes with medicine are ones that add new meaning to what it means to be human. The subjects these books grapple with might include birth and beginnings, illness and loss, pain, memory, and identity. In keeping with its vision and goals, the Wellcome Book Prize aims to excite public interest and encourage debate around these topics.

So as we’re reading (or looking back at) the six shortlisted books, those are the criteria we’ll be keeping in mind.


Here’s the full 2017 shortlist:

  • How to Survive a Plague by David France: a history of the AIDS crisis.
  • When Breath Becomes Air* by Paul Kalanithi: a posthumous memoir by a neurosurgeon.
  • Mend the Living* by Maylis de Kerangal (trans. Jessica Moore): a novel about a donor heart [published in the USA as The Heart].
  • The Tidal Zone by Sarah Moss: a novel about a child who suddenly falls ill.
  • The Gene by Siddhartha Mukherjee: a thorough history of genetics.
  • I Contain Multitudes by Ed Yong: a survey of the human body’s microbes.

 

* = the two I’ve already read and reviewed on Goodreads. I’ll get these reviews together for my first shortlist post on Thursday. Next up for me is The Tidal Zone, which I plan to start today. I have the three other nonfiction titles on request from the public library and hope they’ll come in soon – each one is well over 300 pages, so I’ll need plenty of time with them!

For more on this year’s nominees and the official judging panel, see this Guardian article.


What interests you from the Wellcome Book Prize shortlist? Are there some titles you’ve already read? If you’ve reviewed any of these, let me know and I’d be happy to link to your reviews when I post mine.

Also, if you’d like to read any of the shortlisted books along with us over the next five weeks, I’d love to know that you’re taking part and will help share your reviews, so do get in touch!

(A huge thanks to Naomi of The Writes of Woman for advice on running a shadow panel.)

Review & Giveaway: Hame by Annalena McAfee

hameAs I mentioned on Tuesday, I previously knew of Annalena McAfee only as Mrs. Ian McEwan, though she has a distinguished literary background: she founded the Guardian Review and edited it for six years, was Arts and Literary Editor of the Financial Times, and is the author of multiple children’s books and one previous novel for adults, The Spoiler (2011).

Well, anyone who reads Hame will be saying “Ian who?” as this is on such a grand scale compared to anything McEwan has ever attempted. The subtitle, “The Fascaray Archives,” gives an idea of how thorough McAfee means to be: the life of fictional poet Grigor McWatt is her way into everything that forms the Scottish identity. Her invented island of Fascaray is a carefully constructed microcosm of Scotland from ancient times to today. I loved the little glimpses of recent history, like the referendum on independence and a Donald Trump figure, billionaire “Archie Tupper,” bulldozing an environmentally sensitive area to build his new golf course (this really happened, in Aberdeenshire in 2012).

Narrator Mhairi McPhail arrives on Fascaray in August 2014, her nine-year-old daughter Agnes in tow. She’s here to oversee the opening of a new museum, edit a seven-volume edition of McWatt’s magnum opus, The Fascaray Compendium (a 70-year journal detailing the island’s history, language, flora, fauna and customs), and complete a critical biography of the poet. Over the next four months she often questions the feasibility of her multi-strand project. She also frets about her split from Marco, whom she left back in New York City after their separate infidelities. And her rootlessness – she’s Canadian via Scotland but has spent a lot of time in the States, giving her a mixed-up heritage and accent – is a constant niggle.

Mhairi’s narrative sections share space with excerpts from her biography of McWatt and extracts from McWatt’s own writing: The Fascaray Compendium, newspaper columns, letters to on-again, off-again lover Lilias Hogg, and Scots translations of famous poets from Blake to Yeats. We learn of key events from the island’s history through Mhairi’s biography and McWatt’s prose, including ongoing tension between lairds and crofters, Finnverinnity House being used as a Special Ops training school during World War II, a lifeboat lost in a gale in the 1970s, and the way the fishing industry is now ceding to hydroelectric power.

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The balance between the alternating elements isn’t quite right – sections from Mhairi’s contemporary diary seem to get shorter as the novel goes along, such that it feels like there’s not enough narrative to anchor the book. Faced with yet more Scots poetry and vocabulary lists, or passages from Mhairi’s dry biography, it’s mighty tempting to skim.

That’s a shame, as the novel contains some truly lovely writing, particularly in McWatt’s nature observations:

In July and August, on rare days of startling and sustained heat, dragonflies as blue as the cloudless skies shimmer over cushions of moss by the burn while the midges, who abhor direct sunlight, are nowhere to be seen. Out to sea, somnolent groups of whales pass like cortèges of cruise ships and around them dolphins and porpoises joyously arc and dip as if stitching the ocean’s silken canopy of turquoise, gentian and cobalt.

For centuries male Fascaradians have sailed in the autumn, at the time of the ripe barley and the fruiting buckthorn, to hunt the plump young solan geese or gannets – the guga – near their nesting sites on the uninhabited rock pinnacles of Plodda and Grodda. No true Fascaradian can suffer vertigo since the scaling of these granite towers is done without the aid of mountaineers’ crampons or picks.

“Hame” means home in Scots – like in McWatt’s claim to fame, the folk-pop song “Hame tae Fascaray” – and themes of home and identity are strong here. The novel asks to what extent identity is bound up with a particular country and language, and whether we can craft our own selves. Must the place you come from always be the same as the home you choose? I could relate to Mhairi’s feeling that there’s nowhere she belongs, whether she’s in the bustle of New York or “marooned on a patch of damp peat floating in the North Sea.”

A map of the island from the inside of the back cover.
A map of the island from the inside of the back cover.

Although the blend of elements initially made me think that this would resemble A.S. Byatt’s Possession, it’s actually more like Rachel Cantor’s Good on Paper, which similarly stars a scholar who’s a single parent to a precocious daughter. In places I was also reminded of the work of Scarlett Thomas, Sara Maitland and Sarah Moss, and there’s even an echo of Robert Macfarlane’s Landmarks in the inventories of dialect words.

If you’ve done much traveling in Scotland, an added pleasure of the novel is trying to spot places you’ve been. (I thought I could see traces of Stromness, Orkney; indeed, McWatt reminded me most of Orcadian poet George Mackay Brown.) The comprehensive, archival approach didn’t completely win me over, but I was impressed by the book’s scope and its affectionate portrait of a beloved country. McAfee is of Scots-Irish parentage herself, and you can tell this is a true labor of love, and a cogent tribute.

Hame was published by Harvill Secker on February 9th. With thanks to Anna Redman for sending a free copy for review.

My rating: 3.5 star rating


Giveaway Announcement!

I was accidentally sent two copies of Hame, so I am giving one away to a reader. Alas, this giveaway will have to be UK-only – the book is a hardback of nearly 600 pages, so would be prohibitively expensive to send abroad.

If you’re interested in winning a copy, simply leave a comment to that effect below. The competition will be open through the end of Friday the 17th and I will choose a winner at random on Saturday the 18th, to be announced via the comments and a personal e-mail.

Good luck!