This month we begin with a wildcard selection: the book you finished with last month (or, if you didn’t do an August chain, the last book you’ve read. See Kate’s opening post.) For me that’s Ruth Padel’s poetry collection The Soho Leopard.
#1 Another “leopard” title I’ve read is The Unchangeable Spots of Leopards by Kristopher Jansma, a fun selection from my 20 Books of Summer in 2019. A linked short story collection with an unreliable narrator, it explores how life becomes fiction and vice versa.
#2 The typewriter on the cover immediately made me think of Uncommon Type, the short story collection by Tom Hanks. I haven’t read this one and, if I’m honest, don’t ever plan to.
#3 Tom Hanks features in the delightful story behind the title essay of These Precious Days by Ann Patchett: after Patchett interviewed him on his book tour, she became close with his personal assistant, Sooki Raphael, and ended up having Sooki stay at her Tennessee home during Covid lockdown while Sooki underwent cancer treatment.
#4 That’s Sooki’s painting of Patchett’s dog Sparky on the cover. Another pet named Sparky adorns Jenny Offill’s charming children’s book about a sloth. I love finding the odd-one-out in an author’s oeuvre, and Sparky is simply darling.
#5 Was the animal named after the personality trait/failing or the other way around? In any case, Sloth by Wendy Wasserstein is one of three books I happen to have read from the Seven Deadly Sins Series published by Oxford University Press (the others were Lust by Simon Blackburn and Gluttony by Francine Prose; all were, I’m sorry to report, just okay).
#6 The Seven Deadly Sins provide the metaphorical setup of The Feast by Margaret Kennedy, a rediscovered classic that I read on our trip to Spain in May.
Where will your chain take you? Join us for #6Degrees of Separation! (Hosted on the first Saturday of each month by Kate W. of Books Are My Favourite and Best.) Next month’s starting book is Notes on a Scandal by Zoë Heller.
Have you read any of my selections? Tempted by any you didn’t know before?
I consider myself an Ann Patchett fan, having read eight of her books by now. Although she’s better known for her novels, I have a slight preference for her nonfiction – Truth and Beauty, her memoir of her friendship with Lucy Grealy; and her two collections of autobiographical essays, This Is the Story of a Happy Marriage and now These Precious Days, which made it onto my Best of 2021 list last month. Compared to the previous volume, the essays here, though no less sincere and thoughtful, are more melancholy. The preoccupation with death and drive to simplify life (“My Year of No Shopping,” “How to Practice”) seem appropriate for Covid times.
The opening essay, “Three Fathers,” gives wry portraits of her father and her two stepfathers, contrasting their careers, her relationship with each, and their deaths. In a final piece before the epilogue, she notes the bittersweet privilege of her membership in the American Academy of Arts and Letters – new members are only inducted to replace senior ones, for each of whom she receives a death notice in the mail. Memento mori are everywhere; “The human impulse is to look for order, but there isn’t any. People come and go. When you try to find your place among all the living and dead, the numbers are unmanageable.”
The long title essay, first published in Harper’s, is about her stranger-than-fiction friendship with Tom Hanks’s personal assistant, Sooki Raphael (her painting of Patchett’s dog Sparky adorns the cover). They first made contact after Patchett read an early copy of Hanks’s short story collection, gave it a nice endorsement, and then interviewed him at the D.C. stop on his book tour. Sooki had recurrent pancreatic cancer; Patchett’s husband Karl, a doctor, got her into a medical trial in Nashville and she lived with them throughout her treatment, including during Covid. There are so many twists to this story, so many moments when it might have faltered. Patchett is well aware of the unlikelihood and uses it to comment on her own plots, and the fact that sometimes what she thinks a novel is about ends up being far from the truth.
Patchett also expresses her appreciation of other authors (“Eudora Welty, an introduction,” “Reading Kate DiCamillo”), looks back to her young adulthood (“The First Thanksgiving,” “The Paris Tattoo”) and explores her other key relationships: her ever-youthful mother is the subject of “Sisters,” she celebrates a childhood friend in “Tavia,” and her worry over her 16-years-older husband fuels “Flight Plan” (about his amateur pilot hobby) and “The Moment Nothing Changed” (about his heart attack scare). Many of the shorter pieces first appeared in other publications or anthologies; a few verge on throwaway if I’m being harsh (did we need the essays on Snoopy and knitting?).
But it’s the approach that distinguishes the work as a whole: a clear eye on herself and others; honesty and deep emotion that never tip into mawkishness. I also enjoyed the little glimpses into her everyday domestic life, as well as her work behind the scenes at Parnassus Books. The one essay that meant the most to me, though, was “There Are No Children Here,” which matter-of-factly covers everything I’d ever like to say or hear about childlessness. At their best, Patchett’s books are not just pleasant reads but fond companions on the journey of life, and that’s how I felt about this one. (Susan included it on her list of comfort reading, too.)
With thanks to Bloomsbury for the free copy for review.