I tend to wear my feminism lightly; you won’t ever hear me railing about the patriarchy or the male gaze. But there have been five reads so far this year that had me shaking my head and muttering, “too male!” While aspects of these books were interesting, the macho attitude or near-complete dearth of women irked me. Two of them I’ve already written about here: Ernest Hemingway’s The Garden of Eden was a previous month’s classic and book club selection, while Chip Cheek’s Cape May was part of my reading in America. The other three I reviewed for Shiny New Books or the Times Literary Supplement; I give excerpts below, with links to visit the full reviews in two cases, plus ideas for a book or two by a woman that should help neutralize the bad taste these might leave.
Shiny New Books
The Way Home: Tales from a Life without Technology by Mark Boyle
Boyle lives without electricity in a wooden cabin on a smallholding in County Galway, Ireland. He speaks of technology as an addiction and letting go of it as a detoxification process. For him it was a gradual shift that took place at the same time as he was moving away from modern conveniences. The Way Home is split into seasonal sections in which the author’s past and present intermingle. The writing consciously echoes Henry David Thoreau’s. Without even considering the privilege that got Boyle to the point where he could undertake this experiment, though, there are a couple of problems with this particular back-to-nature model. One is that it is a very male enterprise. Another is that Boyle doesn’t really have the literary chops to add much to the canon. Few of us could do what he has done, whether because of medical challenges, a lack of hands-on skills or family commitments. Still, the book is worth engaging with. It forces you to question your reliance on technology and ask whether making life easier is really a valuable goal. 
The Remedy: Homesick: Why I Live in a Shed by Catrina Davies, which I’m currently reading for a TLS review. Davies crosses Boyle’s Thoreauvian language about solitude and a place in nature with a Woolfian search for a room of her own. Penniless during the ongoing housing crisis, she moves into the shed near Land’s End that once served as her father’s architecture office and embarks on turning it into a home.
Doggerland by Ben Smith
This debut novel has just two main characters: ‘the old man’ and ‘the boy’ (who’s not really a boy anymore), who are stationed on an enormous offshore wind farm. The distance from the present day is indicated in slyly throwaway comments like “The boy didn’t know what potatoes were.” Smith poses questions about responsibility and sacrifice, and comments on modern addictions and a culture of disposability. He has certainly captured something of the British literary zeitgeist. From page to page, though, Doggerland grew tiresome for me. There is a lot of maritime vocabulary and technical detail about supplies and maintenance. The location is vague and claustrophobic, the pace is usually slow, and there are repetitive scenes and few conversations. To an extent, this comes with the territory. But it cannot be ignored that this is an entirely male world. Fans of the themes and style of The Old Man and the Sea and The Road will get on best with Smith’s writing. I most appreciated the moments of Beckettian humor in the dialogue and the poetic interludes that represent human history as a blip in the grand scheme of things.
The Remedy: I’m not a big fan of dystopian or post-apocalyptic fiction in general, but a couple of the best such novels that I’ve read by women are Station Eleven by Emily St. John Mandel and Gold Fame Citrus by Claire Vaye Watkins.
Times Literary Supplement
The Knife’s Edge: The Heart and Mind of a Cardiac Surgeon by Stephen Westaby
In this somewhat tepid follow-up to Fragile Lives, Westaby’s bravado leaves a bad taste and dilutes the work’s ostensibly confessional nature. He has a good excuse, he argues: a head injury incurred while playing rugby in medical school transformed him into a risk taker. It’s widely accepted that such boldness may be a boon in a discipline that requires quick thinking and decisive action. So perhaps it’s no great problem to have a psychopath as your surgeon. But how about a sexist? Westaby’s persistent references to women staff as “lady GP” and “registrar lady” don’t mitigate surgeons’ macho reputation. It’s a shame to observe such casual sexism, because it’s clear Westaby felt deeply for his patients of any gender. And yet any talk of empathy earns his derision. It seems the specific language of compassion is a roadblock for him. The book is strongest when the author recreates dramatic sequences based on several risky surgeries. Alas, at its close he sounds bitter, and the NHS bears the brunt of his anger. Compared to Fragile Lives, one of my favorite books of 2017, this gives the superhero surgeon feet of clay. But it’s a lot less pleasing to read. (Forthcoming in TLS.) 
The Remedy: I’m keen to read Direct Red by Gabriel Weston, a memoir by a female surgeon.
(Crikey! This was my 600th blog post.)
A mudslide blocked the route we should have taken back from Milan to Paris, so we rebooked onto trains via Switzerland. This plus the sub-Alpine setting for our next-to-last day made the perfect context for racing through Where the Hornbeam Grows: A Journey in Search of a Garden by Beth Lynch in just two days. Lynch moved from England to Switzerland when her husband took a job in Zurich. Suddenly she had to navigate daily life, including frosty locals and convoluted bureaucracy, in a second language. The sense of displacement was exacerbated by her lack of access to a garden. Gardening had always been a whole-family passion, and after her parents’ death their Sussex garden was lost to her. Two years later she and her husband moved to a cottage in western Switzerland and cultivated a garden idyll, but it wasn’t enough to neutralize their loneliness.
Confessions of a Bookseller by Shaun Bythell: This picks up right where The Diary of a Bookseller left off and carries through the whole of 2015. Again it’s built on the daily routines of buying and selling books, including customers’ and colleagues’ quirks, and of being out and about in a small town. I wished I was in Wigtown instead of Milan! Because of where I was reading the book, I got particular enjoyment out of the characterization of Emanuela (soon known as “Granny” for her poor eyesight and myriad aches and gripes), who comes over from Italy to volunteer in the bookshop for the summer. Bythell’s break-up with “Anna” is a recurring theme in this volume, I suspect because his editor/publisher insisted on an injection of emotional drama. 
City of Girls by Elizabeth Gilbert: There’s a fun, saucy feel to this novel set mostly in 1940s New York City. Twenty-year-old Vivian Morris comes to sew costumes for her Aunt Peg’s rundown theatre and falls in with a disreputable lot of actors and showgirls. When she does something bad enough to get her in the tabloids and jeopardize her future, she retreats in disgrace to her parents’ – but soon the war starts and she’s called back to help with Peg’s lunchtime propaganda shows at the Brooklyn Navy Yard. The quirky coming-of-age narrative reminded me a lot of classic John Irving, while the specifics of the setting made me think of Wise Children, All the Beautiful Girls
Judgment Day by Sandra M. Gilbert: English majors will know Gilbert best for her landmark work of criticism, The Madwoman in the Attic (co-written with Susan Gubar). I had no idea that she writes poetry. This latest collection has a lot of interesting reflections on religion, food and art, as well as elegies to those she’s lost. Raised Catholic, Gilbert married a Jew, and the traditions of Judaism still hold meaning for her after husband’s death even though she’s effectively an atheist. “Pompeii and After,” a series of poems describing food scenes in paintings, from da Vinci to Hopper, is particularly memorable. 
Vintage 1954 by Antoine Laurain: Dreadful! I would say: avoid this sappy time-travel novel at all costs. I thought the setup promised a gentle dose of fantasy, and liked the fact that the characters could meet their ancestors and Paris celebrities during their temporary stay in 1954. But the characters are one-dimensional stereotypes, and the plot is far-fetched and silly. I know many others have found this delightful, so consider me in the minority… 
Blood Ties by Ben Crane: Artist Ben Crane has developed a passion for birds of prey, raising hawks and training as a falconer. “I saw that my feelings towards nature, and birds of prey in particular, ran in parallel with my feelings for my son,” he writes. Blood Ties accordingly cuts between the story of rehabilitating a pair of rescued sparrowhawks named Girl and Boy and a parallel story about raising his son as a part-time single father. Together these strands emphasize the common concerns that arise when caring for any creature. Crane’s descriptive language is memorably sharp. Whatever struggles his Asperger’s entails, it seems to heighten his observational skills. Pruning the travel segments would have produced a more focused memoir, but this is a powerful story all the same – of the ties that bind us, both to nature and our own families. (Full review in February 8th issue.) 
Notes for the Everlost: A Field Guide to Grief by Kate Inglis: Inglis, a Nova Scotian photographer and children’s author, has written this delicate, playful handbook – something between a bereavement memoir and a self-help guide – for people who feel they might disappear into grief for ever. In 2007, Inglis’s identical twin sons were born premature, at twenty-seven weeks. Ben lived but Liam died. Every milestone in Ben’s life would serve as a reminder of the brother who should have been growing up alongside him. The unfairness was particularly keen on the day she returned to hospital for two appointments: Ben’s check-up and a report on Liam’s autopsy. Unable to sustain the eye-popping freshness of the prose in the introduction, Inglis resorts to some clichés in what follows. But this kooky, candid book will be valuable to anyone facing bereavement or supporting a loved one through it. (Full review in March 15th issue.) 
Face to Face: True stories of life, death and transformation from my career as a facial surgeon by Jim McCaul: Eighty percent of a facial surgeon’s work is the removal of face, mouth and neck tumors in surgeries lasting eight hours or more. McCaul also restores patients’ appearance as much as possible after disfiguring accidents. Here he pulls back the curtain on the everyday details of his work life: everything from his footwear (white Crocs that soon become stained with blood and other fluids) to his musical choices (pop for the early phases; classical for the more challenging microsurgery stage). Like neurosurgeon Henry Marsh, he describes the awe of the first incision – “an almost overwhelming sense of entering into a sanctuary.” There’s a vicarious thrill to being let into this insider zone, and the book’s prose is perfectly clear and conversational, with unexpectedly apt metaphors such as “Sometimes the blood vessels can be of such poor quality that it is like trying to sew together two damp cornflakes.” This is a book that inspires wonder at all that modern medicine can achieve. 
On Sheep: Diary of a Swedish Shepherd by Axel Lindén: Lindén left city life behind to take on his parents’ rural collective in southeast Sweden. This documents two years in his life as a shepherd aspiring to self-sufficiency and a small-scale model of food production. Published diaries can devolve into tedium, but the brevity and selectiveness of this one prevent its accounts of everyday tasks from becoming tiresome. Instead, the rural routines are comforting, even humbling, as the shepherd practices being present with these “quiet and unpretentious and stoical” creatures. The attention paid to slaughtering and sustainability issues – especially as the business starts scaling up and streamlining activities – lends the book a wider significance. It is thus more realistic and less twee than its stocking-stuffer dimensions and jolly title font seem to suggest. 
The female body has been a source of deep embarrassment for Altman, but here she swaps shame for self-deprecating silliness and cringing for chuckling. Through a snappy blend of personal anecdotes and intensive research, she exposes the cultural expectations that make us dislike our bodies, suggesting that a better knowledge of anatomy might help us feel normal. While 11 of her 15 topics aren’t exclusive to women’s anatomy—birthmarks, hemorrhoids, warts and more apply to men, too—she always presents an honest account of the female experience. This is one of my favorite books of the year and one I’d recommend to women of any age. It’s funny, it’s feminist, and it’s a cracking good read. (My full review is complete with embarrassing personal revelations!) 
The Art of the Wasted Day by Patricia Hampl: A poet’s delight in lyricism and free association is in evidence here. The book blends memoir with travel and biographical information about some of Hampl’s exemplars of solitary, introspective living, and it begins, quite literally, with daydreaming. 
Hampl and Lightman start from the same point of frazzled frustration and arrive at many of the same conclusions about the necessity of “wasted” time but go about it in entirely different ways. Lightman makes a carefully constructed argument and amasses a sufficient weight of scientific and anecdotal evidence; Hampl drifts and dreams through seemingly irrelevant back alleys of memory and experience. The latter is a case of form following function: her book wanders along with her mind, in keeping with her definition of memoir as “lyrical quest literature,” where meaning always hovers above the basics of plot.
Chamoiseau is a social worker and author from the Caribbean island of Martinique. Translator Linda Coverdale has chosen to leave snippets of Martinican Creole in this text, creating a symphony of languages. The novel has an opening that might suit a gloomy fairytale: “In slavery times in the sugar isles, once there was an old black man.” The novel’s language is full of delightfully unexpected verbs and metaphors. At not much more than 100 pages, it is a nightmarish novella that alternates between feeling like a nebulous allegory and a realistic escaped slave narrative. It can be a disorienting experience: like the slave, readers are trapped in a menacing forest and prone to hallucinations. The lyricism of the writing and the brief glimpse back from the present day, in which an anthropologist discovers the slave’s remains and imagines the runaway back into life, give this book enduring power. 
Barry Cohen, a conceited hedge fund manager under SEC investigation for insider trading, sets out on a several-month picaresque road trip in the second half of 2016. The ostensible aim is to find his college girlfriend, but he forms fleeting connections with lots of ordinary folks along the way. Barry may be a figure of fun, but it’s unpleasant to spend so much time with his chauvinism (“he never remembered women’s names” but gets plenty of them to sleep with him), which isn’t fully tempered by alternating chapters from his wife’s perspective. Pitched somewhere between the low point of “Make America Great Again” and the loftiness of the Great American novel, Lake Success may not achieve the profundity it’s aiming for, but it’s still a biting portrait of an all-too-recognizable America where money is God and villains gets off easy. 
Atkins has produced an appealing blend of vivid travel anecdotes, historical background and philosophical musings. He is always conscious that he is treading in the footsteps of earlier adventurers. He has no illusions about being a pioneer here; rather, he eagerly picks up the thematic threads others have spun out of desert experience and runs with them – things like solitude, asceticism, punishment for wrongdoing and environmental degradation. The book is composed of seven long chapters, each set in a different desert. In my favorite segment, the author rents a cabin in the Sonoran Desert of Arizona for $100 a week. My interest waxed and waned from chapter to chapter, but readers of travelogues should find plenty to enjoy. Few of us would have the physical or emotional fortitude to repeat Atkins’s journeys, but we get the joy of being armchair travelers instead. 
I was ambivalent about the author’s first book (
Gornall’s genial memoir is the story of a transformation and an adventure, as a fifty-something freelance journalist gets an unexpected second chance at fatherhood and decides to build his daughter, Phoebe, a boat. It was an uncharacteristic resolution for “a man who [had] never knowingly wielded a plane or a chisel,” yet in a more metaphorical way it made sense: the sea was in his family’s blood. Gornall nimbly conveys the precarious financial situation of the freelancer, as well as the challenges of adjusting to new parenthood late in life. This is a refreshingly down-to-earth account. The nitty-gritty details of the construction will appeal to some readers more than to others, but one can’t help admiring the combination of craftsmanship and ambition. (Full review in September 7th issue.) 
The first word of The Water Cure may be “Once,” but what follows is no fairy tale. Here’s the rest of that sentence: “Once we have a father, but our father dies without us noticing.” The tense seems all wrong; surely it should be “had” and “died”? From the very first line, then, Sophie Mackintosh’s debut novel has the reader wrong-footed, and there are many more moments of confusion to come. The other thing to notice in the opening sentence is the use of the first person plural. That “we” refers to three sisters: Grace, Lia and Sky. After the death of their father, King, it’s just them and their mother in a grand house on a remote island.
Normal People is very similar to Tender – which for some will be high praise indeed, though I never managed to finish Belinda McKeon’s novel – in that both realistically address the intimacy between a young woman and a young man during their university days and draw class and town-and-country distinctions (the latter of which might not mean much to those who are unfamiliar with Ireland).
*I’ve only ever read the memoir Running in the Family plus a poetry collection by Ondaatje. I have a copy of The English Patient on the shelf and have felt guilty for years about not reading it, especially after it won the “Golden Booker” this past summer (see Annabel’s 