These three terrific graphic novels all have one-word titles and were published on the 13th of May. Outwardly, they are very different: a biography of a famous English writer, the story of an artist looking for authentic connections, and a memoir of a medical crisis that had permanent consequences. The drawing styles are varied as well. But if the books share one thing, it’s an engagement with loneliness: It’s tempting to see the self as being pitted against the world, with illness an additional isolating force, but family, friends and compatriots are there to help us feel less alone and like we are a part of something constructive.
Orwell by Pierre Christin; illustrated by Sébastien Verdier
[Translated from the French by Edward Gauvin]
George Orwell was born Eric Blair in Bengal, where his father worked for the colonial government. As a boy, he loved science fiction and knew that he would become a writer. He had an unhappy time at prep school, where he was on reduced fees, and proceeded to Eton and then police training in Burma. Already he felt that “imperialism was an evil thing.” Among this book’s black-and-white panes, the splashes of colour – blood, a British flag – stand out, and guest artists contribute a two-page colour spread each, illustrating scenes from Orwell’s major works. His pen name commemorates a local river and England’s patron saint, marking his preoccupation with the essence of Englishness: something deeper than his hated militarism and capitalism. Even when he tried to ‘go native’ for embedded journalism (Down and Out in Paris and London and The Road to Wigan Pier), his accent marked him out as posh. He was opinionated and set out “rules” for clear writing and the proper making of tea.
The book’s settings range from Spain, where Orwell went to fight in the Civil War, via a bomb shelter in London’s Underground, to the island of Jura, where he retired after the war. I particularly loved the Scottish scenery. I also appreciated the notes on where his life story entered into his fiction (especially in A Clergyman’s Daughter and Keep the Aspidistra Flying). During World War II he joined the Home Guard and contributed to BBC broadcasting alongside T.S. Eliot. He had married Eileen, adopted a baby boy, and set up a smallholding. Even when hospitalized for tuberculosis, he wouldn’t stop typing (or smoking).
Christin creates just enough scenes to give a sense of the sweep of Orwell’s life, and incorporates plenty of the author’s own words in a typewriter font. He recognizes all the many aspects, sometimes contradictory, of his subject’s life. And in an afterword, he makes a strong case for Orwell’s ideas being more important now than ever before. My knowledge of Orwell’s oeuvre, apart from the ones everyone has read – Animal Farm and 1984 – is limited; luckily this is suited not just to Orwell fans but to devotees of life stories of any kind.
With thanks to SelfMadeHero for the free copy for review.
In by Will McPhail
Nick never knows the right thing to say. The bachelor artist’s well-intentioned thoughts remain unvoiced, such that all he can manage is small talk. Whether he’s on a subway train, interacting with his mom and sister, or sitting in a bar with a tongue-in-cheek name (like “Your Friends Have Kids” or “Gentrificchiato”), he’s conscious of being the clichéd guy who’s too clueless or pathetic to make a real connection with another human being. That starts to change when he meets Wren, a Black doctor who instantly sees past all his pretence.
Like Orwell, In makes strategic use of colour spreads. “Say something that matters,” Nick scolds himself, and on the rare occasions when he does figure out what to say or ask – the magic words that elicit an honest response – it’s as if a new world opens up. These full-colour breakthrough scenes are like dream sequences, filled with symbols such as a waterfall, icy cliff, or half-submerged building with classical façade. Each is heralded by a close-up image on the other person’s eyes: being literally close enough to see their eye colour means being metaphorically close enough to be let in. Nick achieves these moments with everyone from the plumber to his four-year-old nephew.
Alternately laugh-out-loud funny and tender, McPhail’s debut novel is as hip as it is genuine. It’s a spot-on picture of modern life in a generic city. I especially loved the few pages when Nick is on a Zoom call with carefully ironed shirt but no trousers and the potential employers on the other end get so lost in their own jargon that they forget he’s there. His banter with Wren or with his sister reveals a lot about these characters, but there’s also an amazing 12-page wordless sequence late on that conveys so much. While I’d recommend this to readers of Alison Bechdel, Craig Thompson, and Chris Ware (and expect it to have a lot in common with Kristen Radtke’s forthcoming Seek You: A Journey through American Loneliness), it’s perfect for those brand new to graphic novels, too – a good old-fashioned story, with all the emotional range of Writers & Lovers. I hope it’ll be a wildcard entry on the Sunday Times Young Writer of the Year Award shortlist.
With thanks to Sceptre for the free copy for review.
Coma by Zara Slattery
In May 2013, Zara Slattery’s life changed forever. What started as a nagging sore throat developed into a potentially deadly infection called necrotising fascitis. She spent 15 days in a medically induced coma and woke up to find that one of her legs had been amputated. As in Orwell and In, colour is used to differentiate different realms. Monochrome sketches in thick crayon illustrate her husband Dan’s diary of the everyday life that kept going while she was in hospital, yet it’s the coma/fantasy pages in vibrant blues, reds and gold that feel more real.
Slattery remembers, or perhaps imagines, being surrounded by nightmarish skulls and menacing animals. She feels accused and guilty, like she has to justify her continued existence. In one moment she’s a puppet; in another she’s in ancient China, her fate being decided for her. Some of the watery landscapes and specific images here happen to echo those in McPhail’s novel: a splash park, a sunken theatre; a statue on a plinth. There’s also a giant that reminded me a lot of one of the monsters in Spirited Away.
Meanwhile, Dan was holding down the fort, completing domestic tasks and reassuring their three children. Relatives came to stay; neighbours brought food, ran errands, and gave him lifts to the hospital. He addresses the diary directly to Zara as a record of the time she spent away from home and acknowledges that he doesn’t know if she’ll come back to them. A final letter from Zara’s nurse reveals how bad off she was, maybe more so than Dan was aware.
This must have been such a distressing time to revisit. In this interview, Slattery talks about the courage it took to read Dan’s diary even years after the fact. I admired how the book’s contrasting drawing styles recreate her locked-in mental state and her family’s weeks of waiting – both parties in limbo, wondering what will come next.
Brighton, where Slattery is based, is a hotspot of the Graphic Medicine movement spearheaded by Ian Williams (author of The Lady Doctor). Regular readers know how much I love health narratives, and with my keenness for graphic novels this series couldn’t be better suited to my interests.
With thanks to Myriad Editions for the free copy for review.
Read any graphic novels recently?
I’m averaging four new releases a month: a nicely manageable number. In April I read a memoir about a mother’s dementia, a bizarre little novel about a stuffed aardvark linking two centuries, a history of medicine in graphic novel form, and a sommelier’s memoir.
My top recommendation for the month is:
What We Carry by Maya Shanbhag Lang
Maya Lang’s novel The Sixteenth of June* was one of my top three novels of 2014, so I was eager to read her next book, a forthright memoir of finding herself in the uncomfortable middle (the “sandwich generation”) of three generations of a female family line. Her parents had traveled from India to the USA for her mother’s medical training and ended up staying on permanently after she became a psychiatrist. Lang had always thought of her mother as a superwoman who managed a career alongside parenthood, never asked for help, and reinvented herself through a divorce and a career change.
When Lang gave birth to her own daughter, Zoe, this model of self-sufficiency mocked her when she had postpartum depression and needed to hire a baby nurse. It was in her daughter’s early days, just when she needed her mother’s support the most, that her mother started being unreliable: fearful and forgetful. Gradually it became clear that she had early-onset Alzheimer’s. Lang cared for her mother at home for a year before making the difficult decision to see her settled into a nearby nursing home.
Like Elizabeth Hay’s All Things Consoled, this is an engaging, bittersweet account of obligation, choices and the secrets that sometimes come out when a parent enters a mental decline. I especially liked how Lang frames her experiences around an Indian folktale of a woman who enters a rising river, her child in her arms. She must decide between saving her child or herself. Her mother first told this story soon after Zoe’s birth to acknowledge life’s ambiguity: “Until we are in the river, up to our shoulders—until we are in that position ourselves, we cannot say what the woman will do. We must not judge. That is the lesson of the story. Whatever a woman decides, it is not easy.” The book is a journey of learning not to judge her mother (or herself), of learning to love despite mistakes and personality changes.
*One for me to reread in mid-June!
Published by Dial Press on the 28th. I read an e-copy via NetGalley.
Full disclosure: Maya and I are Facebook friends.
Other April releases to look out for:
Enter the Aardvark by Jessica Anthony
On a scoreboard of the most off-the-wall, zany and fun novels I’ve read, this one would be right up there with Ned Beauman’s Boxer, Beetle and Alex Christofi’s Glass. The two story lines, one contemporary and one set in the 1870s, are linked by a taxidermied aardvark that makes its way from Namibia to the Washington, D.C. suburbs by way of Victorian England.
The aardvark was collected by naturalist Sir Richard Ostlet and stuffed by Titus Downing, his secret lover. Ostlet committed suicide in Africa, but his wife could still sense him walking up and down outside her London home. In the present day, Republican congressman Alexander Paine Wilson, who emulates Ronald Reagan in all things, gets a FedEx delivery of a taxidermied aardvark – an apparent parting gift from Greg Tampico before the latter committed suicide. To keep his gay affair from becoming public knowledge, Wilson decides it’s high time he found himself a trophy wife. But the damned aardvark keeps complicating things in unexpected ways.
A scene where a police officer stops Wilson for texting and driving and finds the stuffed aardvark in the back of his SUV had me laughing out loud (“Enter the aardvark, alight on its mount. Enter the aardvark, claw raised, head covered with a goddamned gourmet $22 dish towel that suddenly looks incredibly suspicious hanging over the head of an aardvark, like it’s an infidel”). History repeats itself amusingly and the aardvark is an entertaining prop, but Wilson is too obviously odious, and having his narrative in the second person doesn’t add anything. This is not a debut novel but reads like one: full of bright ideas, but falling a bit short in the execution.
Published by Doubleday on the 23rd. I won a proof copy in a Twitter giveaway.
Medicine: A Graphic History by Jean-Noël Fabiani
[Illustrated by Philippe Bercovici; translated from the French by Edward Gauvin]
From prehistory to nanotechnology, this is a thorough yet breezy survey of what people have learned about the body and how to treat it. (In approach it reminded me most of another SelfMadeHero graphic novel I reviewed last year, ABC of Typography.) Some specific topics are the discovery of blood circulation, the development of anesthesia, and the history of mental health treatment.
Fabiani, a professor as well as the head of cardiac surgery at Georges Pompidou European Hospital in Paris, focuses on the key moments when ideas became testable theories and when experiments gave groundbreaking results. While he provided the one-page introduction to each chapter and the expository writing at the head of each comic pane, I suspect it was illustrator Philippe Bercovici who added most of the content in the speech bubbles, including plenty of jokes (especially since Fabiani thanks Bercovici for bringing his talent and humor to the project).
This makes for a lighthearted book that contains enough detail so that you feel like you are still getting the full story. Unsurprisingly, I took the most interest in chapters entitled The Great Epidemics and A Few Modern Plagues. I would especially recommend this to teenagers with an interest in medicine.
Published by SelfMadeHero on the 9th. My thanks to the publisher for the free copy for review.
Wine Girl by Victoria James
In 2012, at age 21, Victoria James became America’s youngest certified sommelier. Still in her twenties, she has since worked in multiple Michelin-starred restaurants in New York City and became the only American female to win the Sud de France Sommelier Challenge. But behind all the competition wins, celebrity sightings, and international travel for wine festivals and conferences is a darker story.
This is a tell-all about a toxic restaurant culture of overworked employees and casual sexism. James regularly worked 80-hour weeks in addition to her wine school studies, and suffered multiple sexual assaults. In addition, sexual harassment was common – even something as seemingly harmless as the title epithet a dismissive diner launched at her when he ordered a $650 bottle of wine for his all-male table and then told her it was corked and had to be replaced. “Wine girl” was a slur against her for her age, her gender and her presumed lack of experience, even though by that point she had an encyclopedic knowledge of wine varieties and service.
That incident from the prologue was my favorite part of the book; unfortunately, nothing that came afterwards really lived up to it. The memoir goes deep into James’s dysfunctional upbringing (her parents’ bitter divorce, her mother’s depression, her father’s alcoholism and gambling, her own battle with addictions), which I found I had little interest in. It’s like Educated lite, but with a whiney tone: “I grew up in a household of manipulation and neglect, left to fend for myself.”
For those interested in reading about wine and restaurant culture, I’d recommend Cork Dork by Bianca Bosker and Sweetbitter by Stephanie Danler (one of my pairings here) instead.
A favorite line: “Like music, the wonders of art, food, and beverage can transcend all boundaries. … I wanted to capture that feeling, the exhilaration of familiarity, and bring people together through wine.”
Published by Fleet on the 16th. My thanks to the publisher for the free copy for review.
What recent releases can you recommend?
Last week was one of the biggest weeks in the UK’s publishing year. Even though I’ve cut down drastically on the number of review books I’m receiving in 2020, I still had six on my shelf with release dates last week. Of course, THE biggest title out on the 5th was The Mirror and the Light, the final volume in Hilary Mantel’s Thomas Cromwell trilogy, which I’m eagerly awaiting from the library – I’m #3 in a holds queue of 34 people, but there are three copies, all showing as “Received at HQ,” so mine should come in any day now.
But for those who are immune to Mantel fever, or just seeking other material, there’s plenty to keep you busy. I give short reviews of five books today: a couple of dysfunctional family stories, two very different graphic novels and some feminist nonfiction.
All This Could Be Yours by Jami Attenberg
(Published by Serpent’s Tail on the 5th; came out in the USA from Houghton Mifflin in October)
Most of the action in Attenberg’s seventh book takes place on one day, as 73-year-old Victor Tuchman, struck down by a heart attack, lies on his deathbed in a New Orleans hospital. There’s more than a whiff of Trump about Victor, who has a shadowy mobster past and was recently hit with 11 sexual harassment charges. Forced to face the music for the first time, he fled Connecticut with his wife Barbra, citing the excuse of wanting to live closer to their son Gary in Louisiana. Victor had been abusive to Barbra throughout their marriage, and was just as violent in his speech: he could crush their daughter Alex with one remark on her weight.
So no one is particularly sad to see Victor dying. Alex goes through the motions of saying goodbye and telling her father she forgives him, knowing she doesn’t mean a word. Meanwhile, Gary is AWOL on a work trip to California, leaving his wife Twyla to take his place at Victor’s bedside. Twyla’s newfound piety is her penance for a dark secret that puts her at the heart of the family’s breakdown.
Attenberg spends time with each family member on this long day supplemented by flashbacks, following Alex from bar to bar in downtown New Orleans as she tries to drown her sorrows and exploring other forms of addiction through Barbra (redecorating; not eating or ageing) and Twyla – in a particularly memorable scene, she heaps a shopping cart full of makeup at CVS and makes it all the way to the checkout before she snaps out of it. There’s also an interesting pattern of giving brief glimpses into the lives of the incidental characters whose paths cross with the family’s, including the EMT who took Victor to the hospital.
This is a timely tragicomedy, realistic and compassionate but also marked by a sardonic tone. Although readers only ever see Victor through other characters’ eyes, any smug sense of triumph they may feel about seeing the misbehaving, entitled male brought low is tempered by the extreme sadness of what happens to him after his death. I didn’t love this quite as much as The Middlesteins, but for me it’s a close second out of the four Attenberg novels I’ve read. She’s a real master of the dysfunctional family novel.
My thanks to the publisher for the free copy for review.
Silver Sparrow by Tayari Jones (2011)
(Published for the first time in the UK by Oneworld on the 5th)
Speaking of messed-up families … Growing up in 1980s Atlanta, Dana and Chaurisse both call James Witherspoon their father – but Chaurisse’s mother doesn’t even know that Dana exists. Dana’s mother, however, has always been aware of her husband’s other family. That didn’t stop her from agreeing to a quick marriage over the state line. Jones establishes James’s bigamy in the first line; the rest of the novel is mostly in two long sections, the first narrated by Dana and the second by Chaurisse. Both girls recount how their parents met, as well as giving a tour through their everyday life of high school and boyfriends.
I was eager to read this after enjoying Jones’s Women’s Prize winner, An American Marriage, so much. Initially I liked Dana’s narration as she elaborates on her hurt at being in a secret family. The scene where she unexpectedly runs into Chaurisse at a science fair and discovers their father bought them matching fur coats is a highlight. But by the midpoint the book starts to drag, and Chaurisse’s voice isn’t distinct enough for her narration to add much to the picture. A subtle, character-driven novel about jealousy and class differences, this failed to hold my interest. Alternating chapters from the two girls might have worked better?
My thanks to the publisher for the proof copy for review.
New graphic novels from SelfMadeHero:
The Mystic Lamb: Admired and Stolen by Harry De Paepe and Jan Van Der Veken
[Translated by Albert Gomperts]
I’ve been to Ghent, Belgium twice. Any visitor will know that one of the city’s not-to-be-missed sights is the 15th-century altarpiece in St Bavo’s Cathedral, Jan van Eyck’s Adoration of the Mystic Lamb. On our first trip we bought timed tickets to see this imposing and vibrantly colored multi-paneled artwork, which depicts various figures and events from the Bible as transplanted into a typically Dutch landscape. De Paepe gives a comprehensive account of the work’s nearly six-century history.
It’s been hidden during times of conflict or taken away as military spoils; it’s been split into parts and sold or stolen; it narrowly escaped a devastating fire. Overall, there was much more detail here than I needed, and far fewer illustrations than I expected. If you have a special interest in art history, you may well enjoy this. Just bear in mind that, although marketed as a graphic novel, it is mostly text.
Thoreau and Me by Cédric Taling
[Translated by Edward Gauvin]
I can’t seem to get away from Henry David Thoreau in my recent reading. Last year I reviewed for the TLS two memoirs that consciously appropriated the 19th-century environmentalist’s philosophy and language; the other night I found mentions of Thoreau in a Wallace Stegner novel, a new nature book by Lucy Jones, and travel books by Nancy Campbell and Charlie English. So I knew I had to read this debut graphic novel (but is it a memoir or autofiction?) about a Paris painter who is plagued by eco-anxiety and plans to build his own off-grid home in the woods.
Cédric and his middle-class friends are assailed by “white hipster guilt.” A brilliant sequence has a dinner party discussion descend into a cacophony of voices as they list the ethical minefields they face. Though Cédric wishes he were a prepared alpha male with advanced survival skills that could save his family, his main strategy seems to be panic buying cold-weather gear. Thoreau, depicted sometimes as a wolf or faun and always with a thin, tubular mosquito’s nose (like a Socratic gadfly?), comes to him as an invisible friend and guru, with quotes from Walden and his journal appearing in jagged speech bubbles. This was a good follow-up to Jenny Offill’s Weather with its themes of climate-related angst and perceived helplessness. I enjoyed the story even though I found the drawing style slightly grotesque.
My thanks to the publisher for the free copies for review.
And one extra:
The Home Stretch: Why It’s Time to Come Clean about Who Does the Dishes by Sally Howard
(Published by Atlantic Books on the 5th)
I only gave this feminist book about the domestic labor gap a quick skim as, unfortunately, it repeats a lot of the examples and statistics that were familiar to me from works like Invisible Women by Caroline Criado-Pérez (e.g. the Iceland women’s strike in the 1970s) and Fair Play by Eve Rodsky. The only chapter that stood out for me somewhat was about the “yummy mummy” stereotype perpetuated by the likes of Jools Oliver and Gwyneth Paltrow.
My thanks to the publisher for the proof copy for review.
What recent releases can you recommend?
A diagnosis of motor neurone disease; a father’s dispiriting experience of censorship trials. An illustrated history of fonts; an essay on grief; a cold weather-appropriate record of geese-watching. I gear up for Nonfiction November by catching up on five nonfiction review books I’ve been sent over the last couple of months. You can’t say that I don’t read a variety, even within nonfiction! See if one or more of these tempts you.
A Short History of Falling: Everything I Observed about Love whilst Dying by Joe Hammond
Hammond, a playwright, takes a wry, clear-eyed approach to his diagnosis of motor neurone disease (ALS) and the knowledge that his physical capacities will only deteriorate from here on out. “New items arrive almost daily and I am unexpectedly becoming the curator of the Museum of my own Decline.” Yet he also freezes funnier moments, like blowing his nose on a slice of bread because he couldn’t reach a tissue box, or spending “six hours of my fiftieth birthday sat on this hospice toilet, with a bottle of good Scotch wedged between my knees.”
Still, Hammond regrets that he’s become like a third small child for his wife Gill to look after, joining his sons Tom and Jimmy, and that he won’t see his boys grow up. (This book arose from an article he wrote for the Guardian in 2018 about making 33 birthday cards for his sons to open in the years after his death.) Although I wasn’t as interested in the details of Hammond’s earlier life, or his relationship with his narcissistic father, I appreciated his quiet acceptance of disability, help and impending death.
“I’ve waited all my life to know this peace. To know that I am nothing more than this body.”
“my place in all of this is becoming smaller, historic and just the right size of important.”
With thanks to 4th Estate for the free copy for review.
An Author on Trial: The Story of a Forgotten Writer by Luciano Iorio
The author’s father, Giuseppe Jorio, was a journalist and schoolteacher who wrote an infamous novel based on an affair he had in the 1930s. Using italicized passages from his father’s diary and letters to Tina, who was 19 when their affair started, Iorio reconstructs the sordid events and unexpected aftermath in fairly vivid detail. Tina fell pregnant and decided to abort the baby. Meanwhile, Giuseppe’s wife, Bruna, got the truth out of him and responded with more grace than might be expected. Giuseppe was devastated at the loss of his potential offspring, and realized he wanted to have a child with Bruna. He bid Tina farewell and the family moved to Rome, where the author was born in 1937.
Giuseppe’s novel inspired by the affair, Il Fuoco del Mondo (The Fire of the World) was rejected by all major publishers and accused of obscenity in a series of five trials that threatened his reputation and morale. It’s a less familiar echo of the Lady Chatterley’s Lover trial, and a poignant portrait of a man who felt he never lived up to his potential because of bad luck and societal disapproval. I enjoyed learning a bit about Italian literature. However, inconsistent use of tenses and shaky colloquial English (preposition issues, etc.) suggest that a co-writer or translator was needed to bring this self-published work up to scratch.
With thanks to the publicist for the free copy to review as part of a blog tour.
ABC of Typography by David Rault
[Translated from the French by Edward Gauvin]
From cuneiform to Gutenberg to Comic Sans, this history of typography is delightful. Graphic designer David Rault wrote the whole thing, but each chapter has a different illustrator, so the resulting book is like a taster course in comics styles. As such, I would highly recommend it to those who are fairly new to graphic novels and want to see whose work appeals to them, as well as to anyone who enjoyed Simon Garfield’s book about fonts, Just My Type.
I found it fascinating to explore the technical characteristics (serif vs. sans serif, etc.) and aesthetic associations of various fonts. For instance, I didn’t realize that my mainstay – Times New Roman – is now seen as a staid choice: “Highly readable, but overexposed in the early days of the Internet, it took on a reputation for drabness that it hasn’t shed since the ’90s.” Nowadays, some newspapers and brands pay typeface creators to make a font for their exclusive use. Can you name the typeface that is used on German road signs, or in Barack Obama’s campaign materials? (You’ll be able to after you read this.)
With thanks to SelfMadeHero for the free copy for review.
Time Lived, Without Its Flow by Denise Riley
What Virginia Woolf’s essay “On Being Ill” does for sickness, this does for bereavement. Specifically, Riley, whose son Jake died suddenly of a heart condition, examines how the experience of time changes during grief. “I’ll not be writing about death, but about an altered condition of life,” she opens. In short vignettes written from two weeks to three years after her son’s death, she reflects on how her thinking and feelings have morphed over time. She never rests with an easy answer when a mystery will do instead. “What if” questions and “as if” imaginings proliferate. Poetry – she has also written an exquisite book of poems, Say Something Back, responding to the loss of Jake – has a role to play in the acceptance of this new reality: “rhyme may do its minute work of holding time together.”
Max Porter provides a fulsome introduction to this expanded version of Riley’s essay, which first appeared in 2012. This small volume meant a lot more to him than it did to me; I preferred Riley’s poetic take on the same events. Still, this is sure to be a comfort for the bereaved.
“I’ll try to incorporate J’s best qualities of easy friendliness, warmth, and stoicism, and I shall carry him on in that way. Which is the only kind of resurrection of the dead that I know about.”
“I don’t experience him as in the least dead, but simply as ‘away’. Even if he’ll be away for my remaining lifetime. My best hope’s to have a hallucination of his presence when I’m dying myself.”
With thanks to Picador for the free copy for review.
Wintering: A Season with Geese by Stephen Rutt
Rutt’s The Seafarers: A Journey among Birds, one of my favorite recent nature/travel books, came out in May. What have we done to deserve another publication from this talented young author just four months later?! I didn’t enjoy this as much as The Seafarers, yet it does a lot of the same things well: it provides stunning word portraits of individual bird species, explores the interaction between nature and one’s mental state, and gathers evidence of the cultural importance of birds through legends and classical writings.
Here the focus is on geese, which the author had mostly overlooked until the year he moved to southern Scotland. Suddenly they were impossible to ignore, and as he became accustomed to his new home these geese sightings were a way of marking the seasons’ turn. Ethical issues like hunting, foie gras and down production come into play, and, perhaps ironically, the author eats goose for Christmas dinner!
Rutt’s points of reference include Paul Gallico (beware plot spoilers!), Aldo Leopold, Mary Oliver and Peter Scott. The writing in this short book reminded me most of Horatio Clare (especially The Light in the Dark) and Jim Crumley (who’s written many short seasonal and single-species nature books) this time around.
A favorite passage (I sympathize with the feelings of nomadism and dislocation):
“I envy the geese their certainty, their habits of home. I am forever torn between multiple places that feel like home. Scotland where I live or Suffolk, Essex, Norfolk: the flatlands of golden evenings and reeds, mud and water and sand. The distant horizon and all the space in between I grew up with, which seems to lurk somewhere, subconsciously calling me back.”
[Neat aside: My husband and I both got quotes (about The Seafarers) on the press release for this book!]
With thanks to Elliott & Thompson for the free copy.
Would you be interested in reading one or more of these?
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.
Would you be interested in reading one or more of these?
I’m not at all one for scary books; horror and even crime fiction rarely make it onto my reading agenda. But in advance of Halloween I did read a few books that would count as creepy. Maybe you’ll fancy picking one of them up today?
Ghost Stories of an Antiquary, Vol. II by M.R. James
I’ve only ever read one M.R. James piece before, in an anthology of stories about libraries. This was perhaps not an ideal way to encounter his ghost stories for the first time. Though all four (“Number 13,” “Count Magnus,” “Oh, Whistle and I Will Come to You, My Lad” and “The Treasure of Abbot Thomas”) are adapted by the same pair, Leah Moore and John Reppion, each is illustrated by a different artist, so the drawing style ranges from rounded and minimalist to an angular, watercolor Marvel style. The stories have thematic links of research, travel, archaeological discovery and antiquities. Very often there are found documents that must be interpreted. Several narrators are scholars coming across unexplained phenomena: a hotel room that appears and disappears, a sarcophagus lid that opens on its own, a storm summoned by a whistle, and so on.
In a brief introduction, Jason Arnopp applauds the decision to “show readers the ghouls and ghosts,” but I disagree – to me a central problem with using the graphic form for these tales that center around nameless horror is that depicting the source of horror saps it of its power. Still, I appreciated the introduction to James’s ghost stories.
With thanks to SelfMadeHero for the free copy for review.
Devil’s Day by Andrew Michael Hurley
In Hurley’s Lancashire farmland setting, Devil’s Day is a regional Halloween-time ritual when the locals serve up the firstborn lamb of spring as a sacrifice to ward off the Devil’s shape-shifting appearance in the human or animal flock. Is it all a bit of fun, or necessary for surviving supernatural threat? We see the year’s turning through the eyes of John Pentecost, now settled back on his ancestral land with his wife, Kat, and their blind son, Adam. However, he focuses on two points from his past: his bullied childhood and a visit home early on in his marriage that coincided with the funeral of his grandfather, “the Gaffer”. The Endlands is a tight-knit community with a long history of being cut off from everywhere else, which makes it an awfully good place to keep secrets.
The first and last quarters of the book flew by for me, while the middle dragged a bit. The rural atmosphere and the subtle air of menace reminded me of Elmet and Bellman and Black. I’ll certainly seek out Hurley’s acclaimed debut, The Loney. [Read via NetGalley]
“Nothing changed in Underclough. Nothing happened. Not really. … elsewhere was always a place where the worst things happened. … The world outside the valley might well collapse but we wouldn’t necessarily feel the ripples here.”
Slade House by David Mitchell
“If I could just see a ghost, just once … Just one ghost, so I know that death’s not game over, but a door.”
This was so cool! I feel like I’d never experienced a “real” Mitchell book before (having only read The Thousand Autumns of Jacob de Zoet, which is in some ways the odd one out), and I was impressed by how he brings everything together in this short novel. Every nine years between 1979 and 2015, a different visitor gets sucked into the treacherous world-within-a-world of the Grayer twins’ Slade House. This dilapidated mansion located off an unassuming alley morphs to fit each guest’s desires. To reveal more would spoil the fun, so I’ll just say that I love how Mitchell lulls you into a pretty horrific pattern before springing a couple of major surprises in later chapters. Each time period and narrator feels distinct and believable, and I’m told one character is from two other Mitchell novels (and the phrase “bone clock” even makes an appearance). I need to pick up Cloud Atlas soon for sure. [Public library copy]
Recommended spooky listening: The album That Ghost Belongs to Me by The Bookshop Band – all songs inspired by scary books.
Did you read anything scary this Halloween season?
I’m uncomfortable with the term “graphic memoir,” which to me connotes a memoir with graphically violent or sexual content. However, it seems to be accepted parlance nowadays for a graphic novel that’s autobiographical rather than fictional. Tillie Walden’s Spinning is in the same vein as Alison Bechdel’s Fun Home and Craig Thompson’s Blankets: a touching coming-of-age story delivered through the medium of comics.
Specifically, this is about the 12 years Walden spent in the competitive figure skating world. She grew up in New Jersey, and when the family moved to Austin, Texas the bullying she’d experienced in her previous school continued. Mornings started at 4 a.m. when she got up for individual skating lessons; after school she had synchronized skating practice at another rink.
These years were full of cello lessons, unrequited crushes and skating competitions she rode to with her friend Lindsay and Lindsay’s mother. The femininity of the skating world – the slicked-back buns and thick make-up; the way every girl was made to look the same – chafed with Walden because she’d known since age five that she was gay. All told, she was disillusioned with what once seemed like her whole life:
Skating changed when I came to Texas. It wasn’t strict or beautiful or energizing any more. Now it just felt dull and exhausting. I couldn’t understand why I should keep skating after it lost all its shine.
Every chapter is named after a different skating move: waltz jump, axel, camel spin, etc. Walden’s drawing style initially reminded me most of This One Summer by Jillian and Mariko Tamaki, which is also about teens finding their way in the world and shares the same mostly purple and gray coloring. Walden’s work is more sketch-like, and also includes yellow on certain pages. The last third or so of the book is the most momentous: between when Walden comes out at 15 and when she gives up skating at 17.
Believe it or not, Walden was born in 1996 and this is her fourth book. She’s already won two Ignatz Awards. I felt this book would have benefited from more hindsight: time to mull over her skating experience and figure out what it all meant. The Author’s note at the end struck me as particularly shallow, like this project was about quick catharsis rather than considered reflection. However, the book’s scope (nearly 400 pages) is impressive, and Walden is adept at capturing the emotional milestones of her early life.
Published in the UK on September 12th. With thanks to Paul Smith of SelfMadeHero – celebrating its 10th anniversary this year – for the free copy for review.
Fabrizio Dori’s Gauguin: The Other World is the third graphic novel I’ve reviewed from SelfMadeHero’s “Art Masters” series, after Munch and Vincent. Like those previous volumes, it delivers salient snippets of biography alongside drawings that cleverly echo the subject’s artistic style. Here the focus is on the last 12 years of Paul Gauguin’s life (1848–1903), which were largely spent in the South Pacific.
The book opens with a macro, cosmic view – the myth of the origin of Tahiti and a prophecy of fully clothed, soulless men arriving in a great canoe – before zeroing in on Gauguin’s arrival in June 1891. Although he returned to Europe in 1893–5, Tahiti and the Marquesas Islands would be his final homes. This is all covered in a whirlwind Chapter 1 that ends by, Christmas Carol-like, introducing a Spirit (as pictured in his 1892 painting Manaó Tupapaù (Spirit of the Dead Watching)) who will lead Gauguin – in a morphine haze on his deathbed in 1903 – and readers on a tour through his past.
Gauguin grew up in Peru and Paris, and at age 17 joined the crew of a merchant marine vessel to South America and the West Indies. Back in Paris, he tried to make a living as a stockbroker and salesman while developing as a self-taught artist. He married Mette, a Danish woman, but left her and their children behind in Copenhagen when he departed for Tahiti. The paintings he sent back were unprofitable, and she soon came to curse his career choice.
The locals called Gauguin “the man who makes men” for his skill in portraiture, but also “the woman man” because he wore his hair long. He moved from Papeete, Tahiti’s European-style colonial town, to a cabin in the woods to become more like a savage, and also explored the ghost-haunted island interior. Teura came to live with him as his muse and his lover.
The book is full of wonderful colors and spooky imagery. The palette shifts to suit the mood: dusky blue and purple for the nighttime visit of the Spirit, contrasting with lush greens, pinks and orange for other island scenes and simple ocher and black for the sequences where Gauguin is justifying his decisions. The black-robed, hollow-faced Spirit reminded me of similar figures imagined by Ingmar Bergman and Hayao Miyazaki – could these film directors have been inspired by Gauguin’s Polynesian emissary of death?
Overall this struck me as a very original and atmospheric way of delivering a life story. Although the font is a little bit difficult to read and I ultimately preferred the art to the narration, they still combine to build a portrait of a brazen genius who shunned conventional duties to pursue his art and cultivate the primitive tradition in new ways. Gauguin ends with a short sequence set in Paris in 1907, as Pablo Picasso, fired up by a Gauguin retrospective show, declares, “We must break with formal beauty. We must be savages.”
I appreciated this brief peek into the future, as well as the five-page appendix of critical and biographical information on Gauguin contributed by art critic Céline Delavaux. What I said about Vincent holds true here too: I’d recommend this to anyone with an interest in the lives of artists, whether you think you’re a fan of graphic novels or not. It will be particularly intriguing to see how Dori’s vision of Gauguin compares to that in W. Somerset Maugham’s The Moon and Sixpence, which I plan to start soon.
With thanks to Paul Smith of SelfMadeHero – celebrating its 10th anniversary this year – for the review copy. Translated from the French by Edward Gauvin.
Dutch artist and writer Barbara Stok’s Vincent is the second graphic novel I’ve read from SelfMadeHero’s “Art Masters” series, after reviewing Munch last month. It’s another biographical study of an artist, in this case of Vincent van Gogh. Oddly, though, the drawing style and the subject’s vibrant shock of red hair reminded me most of Agatha.
The book focuses primarily on the time van Gogh spent in the South of France. He settled in Arles, staying first in a hotel and then in a large rental house he hoped to turn into an artists’ colony – he temporarily attracted Paul Gauguin before driving him away with his strict, workaholic ways and his temper.
In presumably authentic letters to his younger brother Theo (an art dealer who supported him financially) back in Paris, van Gogh details his progress and tells of his fondness for the Provence scenery. I particularly love the panels where you can spot the direct inspiration for some of van Gogh’s most famous paintings: wheat fields, cypress trees, sunflowers, irises, a starry night sky, and even his cluttered bedroom.
We also get insights into the philosophy behind van Gogh’s work: “An artist has to put character and emotion into his work, not just paint whatever sells,” he insists to an art dealer who expects him to pander to public taste. “I use lots of different techniques, all mixed together. I like to exaggerate the colors in order to capture the soul of the subject,” he explains to a couple of fellow painters who take an interest in him. He used thick, confident brush strokes and painted quickly, making him annoyingly prolific in others’ eyes.
Stok does a wonderful job of depicting van Gogh as a misunderstood genius who drove people away with his lack of social skills, and sensitively introduces the breakdown during which he famously cut off his ear. He admitted himself to a mental hospital, where he could be treated for his epileptic attacks and continued to paint natural scenes under supervision.
The book closes on what seems to be a fairly positive note: van Gogh voluntarily leaves the hospital and moves to Auvers-sur-Oise, near Paris, where he can be closer to Theo and his young family. “I foresee a future full of problems, but I’m not pessimistic,” he declares to his brother. And yet the final page shows a pair of gravestones: Vincent died in 1890 at age 37 and Theo just a year later, at 33.
Turn back one page and you see what might actually be a rather ominous scene: van Gogh has been painting in a wheat field; in one last two-page spread, he has disappeared from view and a flock of crows has taken off and filled the sky. Were they startled by the gunshot of his attempted suicide? While still true to the facts of van Gogh’s life, it’s a refreshingly subtle ending.
Stok perfectly captures van Gogh’s personality amid the warm colors of the French countryside, and whetted my appetite to read his letters for myself. I’d recommend this to anyone with an interest in the lives of artists, whether you think you’re a fan of graphic novels or not.
With thanks to the publisher, SelfMadeHero, for the free copy for review. Translated from the Dutch by Laura Watkinson.