(A rare second post in a day from me, to make way for tomorrow’s list of the best books of the first half of the year.) My four new releases for June are a novel about the complications of race and sexuality in 1950s–80s America, a novella in translation about a seabird researcher struggling through a time of isolation, and two new poetry books from Carcanet Press. As a bonus just in time for Pride Month, I finish with a mini write-up of The Book of Queer Prophets, an anthology of autobiographical essays that was published late last month.
The Vanishing Half by Brit Bennett
Like some lost mid-career gem from Toni Morrison, this novel is meaty with questions of racial and sexual identity and seems sure to follow in the footsteps of Ruby and An American Marriage with a spot in Oprah’s book club and on Barack Obama’s summer reading list.
It’s the story of light-skinned African American twins Stella and Desiree Vignes, and how their paths divide in 1954. Both are desperate to escape from Mallard, Louisiana, where their father was lynched and their mother cleans white people’s houses. Desiree works in fingerprinting for the FBI in Washington, D.C., but in 1968 leaves an abusive marriage to return to Mallard with her dark-skinned daughter, Jude Winston. Stella, on the other hand, has been passing as white for over a decade. She was a secretary for the man who became her husband, Blake Sanders, and now lives a life of comfort in a Los Angeles subdivision.
The twins’ decisions affect the next generation, too. Both have one daughter. Jude goes to college in L.A., where she meets and falls in love with photographer Reese (born Therese), who is, in a different sense, “passing” until he can afford the surgery that will align his body with his gender. In a coincidence that slightly strains belief, Jude runs into Stella’s daughter, Kennedy, and over the next seven years the cousins – one a medical student; the other an actress – continue to meet occasionally, marvelling at how two family lines that started in Mallard, a tiny town that doesn’t even exist anymore, could have diverged so dramatically.
This is Bennett’s second novel, after The Mothers, which I’m keen to read. It’s perceptive and beautifully written, with characters whose struggles feel genuine and pertinent. Though its story line ends in the late 1980s, it doesn’t feel passé at all. The themes of self-reinvention and running from one’s past resonate. I expected certain characters to be forced into moments of reckoning, but the plot is a little messier than that – and that’s more like real life. A shoo-in for next year’s Women’s Prize list.
My thanks to Dialogue Books for the free copy for review.
Ankomst by Gøhril Gabrielsen (2017)
[Translated from the Norwegian by Deborah Dawkin]
The unnamed narrator of Gabrielsen’s fifth novel is a 36-year-old researcher working towards a PhD on the climate’s effects on populations of seabirds, especially guillemots. During this seven-week winter spell in the far north of Norway, she’s left her three-year-old daughter behind with her ex, S, and hopes to receive a visit from her lover, Jo, even if it involves him leaving his daughter temporarily. In the meantime, they connect via Skype when signal allows. Apart from that and a sea captain bringing her supplies, she has no human contact.
Daily weather measurements and bird observations still leave too much time alone in a cramped cabin, and this starts to tell in the protagonist’s mental state: she’s tormented by sexual fantasies, by memories of her life with S, and by the thought of a local family, the Berthelsens, who experienced a disastrous house fire in 1870. More and more frequently, she finds herself imagining what happened to Olaf and Borghild Berthelsen. Solitude and this growing obsession with ghosts of the past make her start to lose her grip on reality.
I’d encountered an unreliable narrator and claustrophobic setting before from Gabrielsen with her second novel, The Looking-Glass Sisters. Extreme weather and isolation account for this being paired with Snow, Dog, Foot by Claudio Morandini as the first two books in Peirene’s 2020 “Closed Universe” trilogy. I was also reminded of Sarah Moss’s Night Waking. However, I found this novella’s metaphorical links – how seabirds and humans care for their young; physical and emotional threats; lowering weather and existential doom – too obvious.
My thanks to Peirene Press for the free copy for review.
Moving House by Theophilus Kwek
This is the first collection of the Chinese Singaporean poet’s work to be published in the UK. Infused with Asian history, his elegant verse ranges from elegiac to romantic in tone. Many of the poems are inspired by historical figures and real headlines. There are tributes to soldiers killed in peacetime training and accounts of high-profile car accidents; “The Passenger” is about the ghosts left behind after a tsunami. But there are also poems about the language and experience of love. I also enjoyed the touches of art and legend: “Monologues for Noh Masks” is about the Pitt-Rivers Museum collection, while “Notes on a Landscape” is about Iceland’s geology and folk tales. In most places alliteration and enjambment produce the sonic effects, but there are also a handful of rhymes and half-rhymes, some internal.
My individual favorite poems included “Prognosis,” “Sophia” (made up of two letters Sir Thomas Stamford Raffles writes home to his wife while surveying in Singapore), and “Operation Thunderstorm.” As an expat and something of a nomad, I especially loved the title poem, which comes last and explains the cover image: “every house has a skeleton – / while the body learns it must carry less / from place to place, a kind of tidiness / that builds, hardens. Some call it fear, // of change, or losing what we cannot keep. / Others, experience.” Recommended to fans of Mary Jean Chan, Nausheen Eusuf, Kei Miller and Ocean Vuong.
My thanks to Carcanet Press for the PDF copy for review.
Red Gloves by Rebecca Watts
I noted the recurring comparison of natural and manmade spaces; outdoors (flowers, blackbirds, birds of prey, the sea) versus indoors (corridors, office life, even Emily Dickinson’s house in Massachusetts). The style shifts from page to page, ranging from prose paragraphs to fragments strewn across the layout. Most of the poems are in recognizable stanzas, though these vary in terms of length and punctuation. Alliteration and repetition (see, as an example of the latter, her poem “The Studio” on the TLS website) take priority over rhymes. I was reminded of Elizabeth Bishop in places, while “Whereas” had me thinking of Stephen Dunn’s collection of that name (Layli Long Soldier also has a poetry book of the same title). A few of my individual favorite poems were “Surveillance,” “Building” and “Admission” (on a medical theme: “What am I afraid of? / The breaching of skin. / Violation of laws that / separate outside from in. / Liquidation of the thing / I call me.”).
My thanks to Carcanet Press for the PDF copy for review.
And a bonus for Pride Month:
The Book of Queer Prophets: 24 Writers on Sexuality and Religion, edited by Ruth Hunt
There isn’t, or needn’t be, a contradiction between faith and queerness, as the authors included in this anthology would agree. Many of them are stalwarts at Greenbelt, a progressive Christian summer festival – Church of Scotland minister John L. Bell even came out there, in his late sixties, in 2017. I’m a lapsed regular attendee, so a lot of the names were familiar to me, including those of poets Rachel Mann and Padraig O’Tuama.
Most of the contributors are Christian, then, including ordained priests like Desmond Tutu’s daughter, Mpho, and LGBT ally Kate Bottley, but we also hear from Michael Segalov, a gay Jewish man in London, and from Amrou Al-Kahdi (author of Unicorn: The Memoir of a Muslim Drag Queen), who describes the affirmation they found in the Sufi tradition. Dustin Lance Black tells of the exclusion LGBT Mormons still encounter.
Jarel Robinson-Brown addresses his lament on mistreatment to his nephew, as James Baldwin did in “My Dungeon Shook” (in The Fire Next Time). Tamsin Omond recounts getting married to Melissa on a London bridge in the middle of an Extinction Rebellion protest. Erin Clark, though bisexual, knows she can pass as straight because she’s marrying a man – so is she ‘gay enough?’ Two trans poets write of the way cathedrals drew them into faith. The only weaker pieces are by Jeanette Winterson (there’s nothing new if you’ve read her memoir) and Juno Dawson (entirely throwaway; ‘I’m an atheist, but it’s okay to be religious, too’).
Again and again, these writers voice the certainty that they are who God means them to be. A few of them engage with particular passages from the Bible, offering contextual critiques or new interpretations, but most turn to scripture for its overall message of love and justice. Self-knowledge is a key component of their search for truth. And the truth sets people free.
I read an e-copy via NetGalley.
What recent releases can you recommend?
I’m still averaging four new releases per month: a nicely manageable number. In addition to Lily King’s Writers & Lovers, in May I’ve read a novel about eco-anxiety and marital conflict, a memoir of losing a mother to grief and dementia, and an account of a shift in sexuality. I had a somewhat mixed reaction to all three books, but see if one or more catches your eye anyway.
When the Lights Go Out by Carys Bray
Perhaps if this had come out two or three years ago, it could have felt fresh. As it is, it felt like a retread of familiar stories about eco-grief and -anxiety among the middle classes (such as Weather and Unsheltered). Emma Abram is an average suburban mother of two in the north of England, upcycling fabrics and doing her best with other little green initiatives around the house since she got laid off from her job when the local library closed. She feels guilty a lot of the time, but what else can she do?
Nero fiddled while Rome burned; she will sew while the polar ice melts and the seas surge.
She couldn’t un-birth the children, un-earth the disposable nappies or un-plumb the white goods.
Such sentiments also reminded me of the relatable, but by no means ground-breaking, contents of Letters to the Earth.
Emma’s husband Chris, though, has taken things to an extreme: as zealous as he once was about his childhood faith, he now is about impending climate change. One day, a week or so before Christmas, she is embarrassed to spot him by the roadside in town, holding up a signboard prophesying environmental doom. “In those days, Chris had been spreading the Good News. Now he is spreading the Bad News.” He thinks cold-weather and survivalist gear makes appropriate gifts; he raises rabbits for meat; he makes Emma watch crackpot documentaries about pandemic preparation. (Oh, the irony! I was sent this book in December.)
Part of the problem was to do with my expectations: from the cover and publicity materials I thought this was going to be a near-future speculative novel about a family coping with flooding and other literal signs of environmental apocalypse. Instead, it is a story about a marriage in crisis. (I cringed at how unsubtly this line put it: “The climate of her marriage [has] been changing, and she has been in denial about it for a long time.”) It is also, like Unless, about how to relate to a family member who has, in your opinion, gone off the rails.
Nothing wrong with those themes, of course, but my false assumptions meant that I spent well over 200 pages waiting for something to happen, thinking that everything I had read thus far was backstory and character development that, in a more eventful novel, would have been dispatched within, say, the first 40 pages. I did enjoy the seasonal activity leading up to Christmas Eve, and the portrayal of Chris’s widowed, pious mother. But compared to A Song for Issy Bradley, one of my favorite books of 2014, this was a disappointment.
My thanks to Hutchinson for the proof copy for review. This came out in e-book and audio on May 7th but the print edition has been delayed until November 12th.
Mother: A Memoir by Nicholas Royle
“A memoir is about what survives. But it is also about what is enigmatic and irretrievable. Cryptic and unknown.”
A few years ago I read Royle’s An English Guide to Birdwatching, one of the stranger novels I’ve ever come across (it brings together a young literary critic’s pet peeves, a retired couple’s seaside torture by squawking gulls, the confusion between the two real-life English novelists named Nicholas Royle, and bird-themed vignettes). It was joyfully over-the-top, full of jokes and puns as well as trenchant observations about modern life.
I found that same delight in the vagaries of language and life in Mother: A Memoir. Royle’s mother, Kathleen, had Alzheimer’s and died in 2003. At least to start with, she was aware of what was happening to her: “I’m losing my marbles,” she pronounced one day in the kitchen of the family home in Devon. Yet Royle pinpoints the beginning of the end nearly two decades earlier, when his younger brother, Simon, died of a rare cancer. “From that death none of us recovered. But my mother it did for. She it by degrees sent mad.”
In short, titled sections that function almost like essays, Royle traces his mother’s family history and nursing career, and brings to life her pastimes and mannerisms. She passed on to Royle, a professor of English and creative writing at the University of Sussex, a love of literature and of unusual words and sayings. She was often to be found with a crossword puzzle in front of her, she devoured books (devoting a whole summer to the complete works to date of Doris Lessing, for instance), and she gave advice on her son’s early stories.
The narrative moves back and forth in time and intersperses letters, lists and black-and-white photographs. Royle often eschews punctuation and indulges in wordplay. “These details matter. The matter of my mater. Matador killing metaphor.” I found that I remained at arm’s length from the book – admiring it rather than becoming as emotionally engaged with it as I wanted to be – but it’s certainly not your average memoir, and it’s always refreshing to find (auto)biographical work that does something different.
My thanks to Myriad Editions for the free copy for review.
The Fixed Stars by Molly Wizenberg
Wizenberg is the author of two terrific food-themed memoirs. I particularly loved A Homemade Life, which chronicles the death of her father Burg from cancer, her time living in Paris, building a new life in Seattle, starting her famous food blog (Orangette), and meeting her husband, Brandon. Her follow-up, Delancey, was about the ups and downs of them opening a pizza restaurant and bar in Seattle while she was pregnant with June.
By contrast, The Fixed Stars was an uncomfortable read in more ways than one. For one thing, it unpicks the fairy tale of what had looked like a pretty ideal marriage and entrepreneurial partnership. It turns out Wizenberg wasn’t wholly on board with their little restaurant empire and found the work overwhelming. It was all Brandon’s dream, not hers. (She admits to these facts in Delancey, but it was the success, not the doubt, that I remembered.)
And then, in the summer of 2015, Wizenberg was summoned for jury duty and found herself fascinated by one of the defense attorneys, a woman named Nora who wore a man’s suit and a butch haircut. The author had always considered herself straight, had never been attracted to a woman before, but this crush wouldn’t go away. She and Brandon tried an open marriage so that she could date Nora and he could see other people, too, but it didn’t work out. Brandon didn’t want her to fall in love with anyone else, but that was just what was happening.
Wizenberg announced her coming-out and her separation from Brandon on her blog, so I was aware of all this for the last few years and via Instagram followed what came next. I knew her new spouse is a non-binary person named Ash who was born female but had top surgery to remove their breasts. (At first I was assumed Nora was an alias for Ash, but they are actually different characters. After things broke down with Nora, a mutual friend set her up with Ash.) The other source of discomfort for me here was the explicit descriptions of her lovemaking with Nora – her initiation into lesbian sex – though she draws a veil over this with Ash.
I’m not sure if the intimate details were strictly necessary, but I reminded myself that a memoir is a person’s impressions of what they’ve done and what has happened to them, molded into a meaningful shape. Wizenberg clearly felt a need to dig for the why of her transformation, and her answers range from her early knowledge of homosexuality (an uncle who died of AIDS) to her frustrations about her life with Brandon (theirs really was a happy enough marriage, and a markedly amicable divorce, but had its niggles, like any partnership).
I appreciated that, ultimately, Wizenberg leaves her experience unlabeled. She acknowledges that hers is a messy story, but an honest one. While she entertains several possibilities – Was she a closeted lesbian all along? Or was she bisexual? Can sexual orientation change? – she finds out that sexual fluidity is common in women, and that all queer families are unique. An obvious comparison is with Maggie Nelson’s The Argonauts, which is a bit more profound and original. But the mourning for her marriage and the anguish over what she was doing to her daughter are strong elements alongside the examination of sexuality. The overarching metaphor of star maps is effective and reminded me of Constellations by Sinéad Gleeson.
There were points in the narrative where I was afraid the author would resort to pat answers about what was ‘meant to be’ or to depicting villains versus heroic actions, but instead she treats this all just as something that happened and that all involved coped with as best they could, hopefully making something better in the end. It’s sensitively told and, while inevitably different from her other work, well worth reading for anyone who’s been surprised where life has led.
I read an advanced e-copy from Abrams Press via Edelweiss. A Kindle edition came out on May 12th, but the hardback release has been pushed back to August 4th.