Phantom Gang by Ciarán O’Rourke: Dylan Thomas Prize Blog Tour
As part of the 2023 Dylan Thomas Prize blog celebration, I’m featuring the second collection by Irish poet Ciarán O’Rourke, Phantom Gang (2022).
There is an elegiac cast to much of this, with scenes that evoke historical warfare from the American West through the Second World War Resistance to Afghanistan. The title line references the discovery of the victims of an ancient raid. Even the love poems and descriptions of the natural world are more redolent of desperation and decline than they are celebratory. “Book of Salt,” in the tradition of Catullus, is the longest poem in the book and voices unrequited longing. Its short lines and end rhymes are in service of a passion mixed with hatred. There are lovely descriptions of curlew and starlings, but also mourning for the loss of the corncrake.
A favourite passage of mine was from “Portrait in Red and Black”:
Only the goldfinch
feels alive –
a skeet of colour,
stout as a cloud,
his knuckle and plunge
of plumage stark
against the slipping boughs.
I watch him thrum
and pluck terrifically,
marshalling the morning
with my heart in his mouth.
That excerpt is representative in that most of the poems are composed of two- or three-line stanzas, with assonance, alliteration and internal rhymes more common techniques than end rhymes. Although there are some mentions of recent figures – James Dyson, Elon Musk, Donald Trump – the collection as a whole feels inclined towards the past, with Bertolt Brecht and John Clare as stars. It’s austere, refined work, rooted yet ranging in both time and place.
More favourite lines:
Our one sick world spins on –
returningly, and slow
and with birds
the rising days begin,
the rage and ache
we call the spring,
a word for what
the carnage reckoned –
and still the birds returning.
~from “The Tree”
(My thanks to The Irish Pages Press and Midas PR for the free copy for review.)
I’ve reviewed Dylan Thomas Prize-longlisted poetry in several previous years as well:
- Eye Level by Jenny Xie
- If All the World and Love Were Young by Stephen Sexton
- Auguries of a Minor God by Nidhi Zak/Aria Eipe
For a reminder of the full longlist, see my post from last month. I’ve read 3.5 books from it now and would be delighted to see Nell Stevens’ debut novel (my review) make the shortlist. This will be announced on 23 March, with the winner on 11 May.
Happy St Patrick’s Day – this is also my token contribution to Reading Ireland Month!
The Heart of Things by Richard Holloway (#NovNov22 Nonfiction Week)
This was my sixth book by Holloway, a retired Bishop of Edinburgh whose perspective is maybe not what you would expect from a churchman – he focuses on this life and on practical and emotional needs rather than on the supernatural or abstruse points of theology. His recent work, such as Waiting for the Last Bus, also embraces melancholy in a way that many on the more evangelical end of Christianity might deem shamefully negative.
Being a pessimist myself, though, I find that his outlook resonates. The title of this 2021 release, originally subtitled “An Anthology of Memory and Regret,” comes from Virgil’s Aeneid (“there are tears at the heart of things [sunt lacrimae rerum]”), and that context makes it clearer where he’s coming from. In the same paragraph in which he reveals that source, he defines melancholia as “sorrowing empathy for the constant defeats of the human condition.”
The book is in six thematic essays that plait Holloway’s own thoughts with lengthy quotations, especially from 19th- and 20th-century poetry: Passing – Mourning – Warring – Ruining – Regretting – Forgiving. The war chapter, though appropriate for it having just been Remembrance Day, engaged me the least, while the section on ruin sticks closely to the author’s Glasgow childhood and so seems to offer less universal value than the rest. I most appreciated the first two chapters and the one on regret, which features musings on Nietzsche’s “amor fati” and extended quotes from Borges, Housman and MacNeice.
We melancholics are prone to looking backwards, even when we know it’s not good for us; to dwelling on our losses and failures. The final chapter, then, is key, insisting on self-forgiveness because of the forgiveness modelled by Christ (in whatever way you understand that). Holloway believes in the edifying wisdom of poetry, which he calls “greater than the intention of its makers and [continuing] to reveal new meanings long after they are gone.” He’s created an unusual and pensive collection that will perform the same role.
With thanks to Canongate for the free copy for review.
Solidarity with Ukraine
I don’t think I realized how serious the Russian invasion of Ukraine was until I heard a neighbour who is in the Royal Navy speak of it in the same breath as 9/11.
It is so hard to predict the end game. Wars can last years, even decades, and a situation like this could draw many more countries in. Like with Covid, there could be much longer term effects than we’re currently expecting.
I attended a candlelit vigil for Ukraine in the town square on Friday.
I donated to the Disasters Emergency Committee’s Ukraine Humanitarian Appeal at church yesterday morning, and will donate more. (Those in other countries might choose to send money through Doctors Without Borders, the Red Cross, or UNICEF.)
And I was prompted by a friend’s post to assemble this “Solidarity Stack” on Instagram over the weekend:
But I still feel like I have done so little.
I can hardly bear to keep up with the news; we don’t have a television or get a newspaper and I never listen to the radio, but I do see the headlines through my Facebook and Twitter feeds. Some heartening stories, but mostly horrible ones.
I wish I knew more about Ukraine. The only books I can think of that I’ve read by Ukrainians and Ukrainian Americans are Deaf Republic by Ilya Kaminsky, Death and the Penguin by Andrey Kurkov*, and My Dead Parents by Anya Yurchyshyn. There is a Ukraine setting to The Summer Guest by Alison Anderson, and Henry Marsh goes on medical missions to Ukraine in Do No Harm. Everything Is Illuminated by Jonathan Safran Foer is about his Ukrainian Jewish heritage (as is his mother Esther’s I Want You to Know We’re Still Here); The Reason Why by Cecil Woodham-Smith and The Rose of Sebastopol by Katharine McMahon are about the Crimean War.
Over the past couple of weeks a number of Ukrainian reading lists have come out, like this one from Book Riot. Ron Charles (of the Washington Post) also put me onto I Will Die in a Foreign Land by Kalani Pickhart, which is about the 2014 revolution in Ukraine (when Putin tried to annex the Crimea). A portion of her proceeds will be donated to the Ukrainian Red Cross.
*Apparently on a most wanted list for his vocal opposition to Putin; his work has been banned in Russia since 2014.
Any other thoughts on what we can do to help, understand, and work for the good?
Three for Novellas in November: Bythell, Carey and Diop
I started my reading for Novellas in November early with these three review books, one nonfiction and two fiction. They have in common the fact that they are published today –although I believe two were released early to beat the lockdown. Don’t worry, though; there are still plenty of ways of getting hold of new books: most publishers and bookshops are still filling orders, or you can use the UK’s newly launched Bookshop.org site and support your local indie.
Seven Kinds of People You Find in Bookshops by Shaun Bythell
Cheerfully colored and sized to fit into a Christmas stocking, this is a fun follow-up to Bythell’s accounts of life at The Bookshop in Wigtown, The Diary of a Bookseller and Confessions of a Bookseller. Within his seven categories are multiple subcategories, all given tongue-in-cheek Latin names as if naming species. When I saw him chat with Lee Randall at the opening event of the Wigtown Book Festival, he introduced a few, such as the autodidact who knows more than you and will tell you all about their pet subject (the Homo odiosus, or bore). This is not the same, though, as the expert who shares genuinely useful knowledge – of a rare cover version on a crime paperback, for instance (Homo utilis, a helpful person).
There’s also the occultists, the erotica browsers, the local historians, the self-published authors, the bearded pensioners (Senex cum barba) holidaying in their caravans, and the young families – now that he has one of his own, he’s become a bit more tolerant. Setting aside the good-natured complaints, who are his favorite customers? Those who revel in the love of books and don’t quibble about the cost. Generally, these are not antiquarian book experts looking for a bargain, but everyday shoppers who keep a low-key collection of fiction or maybe specifically sci-fi and graphic novels, which fly off the shelves for good prices.
So which type am I? Well, occasionally I’m a farter (Crepans), but you won’t hold that against me, will you? I’d like to think I fit squarely into the normal people category (Homines normales) when I visited Wigtown in April 2018: we went in not knowing what we wanted but ended up purchasing a decent stack and even had a pleasant conversation with the man himself at the till – he’s much less of a curmudgeon in person than in his books. I do recommend this to those who have read and loved his other work.
With thanks to Profile Books for the free copy for review.
The Swallowed Man by Edward Carey
Carey’s historical novel Little was one of my highlights of 2018, so I jumped at the chance to read his new book. Interestingly, this riff on the Pinocchio story, narrated by Geppetto from the belly of a giant shark, originally appeared in Italian to accompany an exhibition hosted by the Fondazione Nazionale Carlo Collodi at the Parco di Pinocchio in Collodi. Geppetto came from a pottery-painting family but turned to wood when creating a little companion for his loneliness, the wooden boy who astounded him by coming to life. Now a son rather than a mere block of wood, Pinocchio sets off for school but never comes home. When he gets word that a troublesome automaton has been thrown into the sea, Geppetto sets out in a dinghy to find his son but is swallowed by the enormous fish that has been seen off the coast.
The picture of this new world-within-a-world is enthralling. Geppetto finds himself inside a swallowed ship, the Danish schooner Maria. Within the vessel is all he needs to occupy himself, at least for now: wood on which to paint the women he has loved; candle wax and hardtack for sculpting figures. Seaweed to cover his bald spot. Squid ink for his pen so he can write this notebook. A crab that lives in his beard. Relics of the captain’s life to intrigue him.
As a narrator, Geppetto is funny and gifted at wordplay (“This tome is my tomb”; “I unobjected him. Can you object to that?”), yet haunted by his decisions. Carey deftly traces Geppetto’s state of mind as he muses on his loss and imprisonment. The Afterword adds a sly pseudohistorical note to the fantasy. There are black-and-white illustrations throughout, as well as photos of the objects described in the text (and, presumably, featured in the exhibition). For me this didn’t live up to Little, but it would be a great introduction to Carey’s work.
With thanks to Gallic Books for the free copy for review.
At Night All Blood Is Black by David Diop
[145 pages; translated from the French by Anna Moschovakis]
I had no idea that Africans (“Chocolat soldiers”) fought for France in World War I. Diop’s second novel, which has already won several major European prizes, is about two Senegalese brothers-in-arms caught up in trench warfare. Alfa Ndaiye, aged 20, considers Mademba Diop his blood brother or “more-than-brother” (the novel’s French title is “Soul Brother”). From the start we know that Mademba has died. Gravely injured in battle, entrails spilling out, he begged Alfa to end his misery; three times Alfa refused. Having watched his friend die in agony, he knows he did the wrong thing. Slitting the man’s throat would have been the compassionate choice. From now on, Alfa will atone by brutally wreaking Mademba’s method of death on Germans. “The captain’s France needs our savagery, and because we are obedient, myself and the others, we play the savage.” Alas, I thought this bleak exploration of (in)humanity was marred by the repetitive language and unpleasantly sexualized metaphors.
With thanks to Pushkin Press for the proof copy for review.
Do any of these novellas take your fancy?
What November releases can you recommend?
Announcing the Not the Wellcome Prize Shortlist
After deliberation and two rounds of voting, we as a shadow panel (Annabel of Annabookbel, Clare of A Little Blog of Books, Laura of Dr. Laura Tisdall, Paul of Halfman, Halfbook and I) have reduced the 19 longlisted titles to a shortlist of six books. A few of these were clear standouts on which we all agreed, while the others required more difficult decisions.
Exhalation by Ted Chiang
Invisible Women by Caroline Criado Perez
Constellations by Sinéad Gleeson
The Nocturnal Brain by Guy Leschziner
The Remarkable Life of the Skin by Monty Lyman
War Doctor by David Nott
We’re pleased with the quality and variety we’ve come up with here. While nonfiction dominates, we have included science fiction stories that raise questions about artificial intelligence and human development. The other books address gender inequality; cancer, chronic pain, and disability; circadian rhythms and sleep; anatomy; and surgery in war zones.
The shadow panel members will vote this coming weekend to choose a winner. In the meantime, I have set up a Twitter poll to run through Saturday, the results of which will serve as one additional weighted vote. Our winner will be announced one week from today, on the morning of Monday the 11th. Go forth and vote!
Which book(s) are you rooting for?
The Winter Soldier by Daniel Mason
Though I’m often wary of war fiction – can anything new still be written about World War I? – I was drawn to The Winter Soldier by the enthusiastic American reviews and the medical theme. The protagonist of psychiatrist Daniel Mason’s third novel, Lucius Krzelewski, comes from southern Polish nobility. In the 1910s medicine was a path for those seeking social mobility, but for Lucius neurology study is a way out of his stifling aristocratic household. Under Herr Doktor Zimmer’s tutelage in Vienna, he experiments on ways to make blood vessels visible. Dismayed to learn that Zimmer believes the “mermaid” in the medical school’s anatomical museum is real, he hurries to enlist when war begins in 1914.
As a 22-year-old medical lieutenant he’s stationed at a church turned into a regimental hospital at Lemnowice. Here Sister Margarete has been making do without a doctor in charge for two months. She’s been performing amputations and setting fractures in a lice-ridden building where hunger and typhoid are never far away. Lucius is ashamed of his ignorance compared to this skilled nurse; though he has textbook knowledge, he has no practical experience and has to learn on the job.
The following winter a Hungarian soldier suffering from “nervous shock” but no visible wounds is brought in, a sheaf of accomplished drawings padding his coat. For Lucius and Margarete, Sergeant József Horváth poses a particular challenge, which makes his recovery seem more like a resurrection: “they were both falling a little bit in love with their silent visitor or, more, with the cure that they had wrought.” Even as Lucius and Margarete fall in love and steal moments alone, they regret they couldn’t do more for Horváth. When Lucius and Margarete are separated, he vows to find her again – and make things right with Horváth.
I loved the novel’s first half, with its gallows humor, memorable scenes of gruesome medical procedures, and bleak conditions so convincing you’ll find yourself itching right along with the lice-plagued patients. But at about the halfway point the pace changes dramatically. Years pass and Lucius has various deployments and hospital positions. Curiously, although so much is happening to him outwardly, he’s stalled internally – haunted by thoughts of Margarete and Horváth. Perhaps this is why I felt the narrative slowed to a crawl. I could barely force myself to read more than five or 10 pages in a sitting, and the novel as a whole took me much longer to read than normal. Or maybe I was just missing Margarete, the most vibrant character.
Early on I was reminded of Julie Orringer’s The Invisible Bridge and Hubert Mingarelli’s A Meal in Winter, lesser-known war novels in which the stark beauty of the writing tempers the somber subject matter. Partway through I started thinking of Ambrose Parry’s The Way of All Flesh, in which an unqualified female outshines a male in medical knowledge. By the end I was recalling epic separation-filled romances like The English Patient and Birdsong.
Though the novel’s second half never matched the strength of the first, I was at least pleased that Mason avoided a clichéd, Hollywood-ready ending in favor of a more fitting one that, while still somewhat far-fetched, makes sense of the title’s emphasis. This is a moving story of the physical and psychological effects of war, and I would certainly read more by Mason.
The Winter Soldier was published in the UK by Mantle on October 18th. With thanks to the publisher for the free copy for review.
A Publisher Party and a One-Man Play
I was a veritable social butterfly this past week: I went out two evenings in a row! (Believe me, that’s rare.) On Tuesday I met up with bloggers Annabel, Eric and Kim at the Faber Spring Party held at Crypt on the Green in London, and on Wednesday my husband and I attended a performance at the University of Reading of Michael Mears’s one-man play on the plight of Britain’s conscientious objectors during World War I, This Evil Thing.
Faber Spring Party
I’ve never been to an event quite like this. Publisher Faber & Faber, which will be celebrating its 90th birthday in 2019, previewed its major releases through to September. Most of the attendees seemed to be booksellers and publishing insiders. Drinks were on a buffet table at the back; books were on a buffet table along the side. Glass of champagne in hand, it was time to plunder the free books on offer. I ended up taking one of everything, with the exception of Rachel Cusk’s trilogy: I couldn’t make it through Outline and am not keen enough on her writing to get an advanced copy of Kudos, but figured I might give her another try with the middle book, Transit.
For the evening’s presentation, each featured author had a few minutes to introduce their new book and/or give a short reading.
Rachel Cusk opened the evening with a reading from Kudos. If you’re familiar with her recent work, you won’t be surprised at this synopsis: a man on a plane recounts having his dog put to sleep. (Out on May 3rd.)
William Atkins’s book on deserts, The Immeasurable World, is based on three years of travel and is, he is not ashamed to say, in the old-fashioned travel writing tradition. (Out on June 7th.)
Hannah Sullivan’s Three Poems is a hybrid work of poem-essays. #2 is more philosophical, she said; #3 is about her father’s death and her son’s birth. She read sonnet 3.21. (Out now.)
Clémentine Beauvais’s In Paris with You is a YA romance in free verse, loosely based on Eugene Onegin. I don’t know the source text but started this on the train ride home and it’s enjoyable thus far. I’m in awe at how translator Sam Taylor has taken the French of her Songe à la douceur and turned it into English poetry. (Out on June 7th.)
Chris Power’s Mothers is a book of linked short stories, three of which are about a character named Eva. He read a portion of a story about her having an encounter with an unpleasant man in Innsbruck. (Out on March 1st.)
Elise Valmorbida’s The Madonna of the Mountains, set in 1923–50, is a saga that resembles “an Italian Mother Courage,” she says. She read a scene in which a character comes across a madwoman. (Out on April 5th.)
Zaffar Kunial read the poem “Spark Hill” from his forthcoming collection Us. It’s about a childhood fight in the area of Birmingham where he grew up. He had a folder open in front of him but, impressively, recited the long poem completely from memory. (Out on July 5th.)
American novelist Benjamin Markovits was a professional basketball player in Germany for six months. Like the tennis-playing protagonist of his upcoming book, A Weekend in New York, he got tired of being measured. After 15 years, his hero is eager to escape a life of being constantly ranked. This is the first in a quartet of novels that inevitably invites comparison with John Updike’s “Rabbit” books. (Out on June 7th.)
I confess I didn’t previously know the name Viv Albertine; she was the guitarist for the female punk band The Slits, and To Throw Away Unopened is her second memoir. Albertine realized that it was her mother who had made her an angry rebel; the title is the label on a bag she found in her mother’s room after her death. (Out on April 5th.)
Sophie Collins incorporates hybrid forms in her poetry – what she calls “lyric essays.” The theme of her book Who Is Mary Sue? is perceptions of women’s writing (with “Mary Sue” as a metonym for the stereotypical good girl). She read from “Engine.” (Out now.)
Katharine Kilalea’s debut novel Ok, Mr Field is about an injured concert pianist who becomes obsessed with a house he buys in South Africa. (Out on June 7th.)
Elizabeth Foley and Beth Coates are the authors of two Homework for Grown-Ups books. Their new book, What Would Boudicca Do?, is about lessons we can draw from the women of history. For instance, the sampler booklet has pieces called “Dorothy Parker and Handling Jerks” and “Frida Kahlo and Finding Your Style.” There’s a heck of a lot of books like this out this year, though, and I’m not so sure this one will stand out. (Out on September 6th.)
Richard Scott read two amazingly intimate poems from his upcoming collection, Soho. One, “cover-boys,” was about top-shelf gay porn; the other was about mutilated sculptures of male bodies in the Athens archaeological museum. If you appreciated Andrew McMillan’s Physical, you need to get hold of this the second it comes out. I went back and read “cover-boys” in the sampler booklet and it wasn’t nearly as powerful as it was aloud; Scott’s reading really brought it to life, in contrast to some other authors’ dull delivery. (Out on April 5th.)
Sue Prideaux’s forthcoming biography of Friedrich Nietzsche is entitled I Am Dynamite! She encountered her subject when she wrote her first biography, of Edvard Munch. Although Nietzsche has been embraced by far-right groups in America, he was in fact against racism, nationalism, and anti-semitism, so he has important messages for us today. I’ll be keen to get hold of this one. (Out on September 6th.)
Guitar in hand, Willy Vlautin closed the evening with a performance of the title track from the soundtrack album to his fifth novel, Don’t Skip Out on Me – he was the singer in Portland, Oregon alt-country band Richmond Fontaine, which has recently stopped touring. He said the novel asks, “can you make the scars of broken people bearable?” (Out now.)
Now that I’ve got this terrific stack of books, wherever do I start?! I’m currently reading the Beauvais; from there I’ll focus on ones that have already been released, starting with Vlautin and the two poetry collections. The titles that aren’t out until June can probably wait – though it’s tempting to be one of the privileged few who get to read them nearly four months early. One Faber book per week should see me getting through all these by the final release date.
This Evil Thing
Michael Mears plays about 50 different characters in this one-man production. He’s an actor and pacifist who has written a number of solo pieces over 20 years. In this commemorative year of the end of the First World War, he knew we would hear a lot about battles, soldiers, and their families back home. But conscientious objectors weren’t likely to be remembered: theirs is a “story that’s rarely told,” he realized. This Evil Thing sets out to correct that omission. The title phrase refers not to war in general but specifically to conscription.
The two main characters Mears keeps coming back to in the course of the play are Bert Brocklesby, a Yorkshire preacher, and philosopher Bertrand Russell. Brocklesby refused to fight and, when he and other COs were shipped off to France anyway, resisted doing any work that supported the war effort, even peeling the potatoes that would be fed to soldiers. He and his fellow COs were beaten, placed in solitary confinement, and threatened with execution. Meanwhile, Russell and others in the No-Conscription Fellowship fought for their rights back in London. There’s a wonderful scene in the play where Russell, clad in nothing but a towel after a skinny dip, pleads with Prime Minister Asquith.
As in solo shows I’ve seen before (e.g. A Christmas Carol with Patrick Stewart), Mears had to find subtle ways to distinguish between characters: he used a myriad different voices, including regional accents; he quickly donned a jacket, hat, or pair of glasses. Russell was identified by his ever-present pipe. The most challenging scene, Mears said in the Q&A at the end, was one with four characters in a French street café.
Mears reveals during the play that his grandfather fought in WWI and his father in WWII, but he has never had to put his own pacifist views to the test. What about Hitler? people always ask. Mears is honest and humble enough to admit that he doesn’t know what he would have done had he been called on to fight Hitler, or had he faced persecution as a CO in WWI. Ultimately, what Mears hopes audiences take from his play, which won acclaim at the Edinburgh Festival Fringe, is that “this is not an irrelevant piece of history.” Standing up for what you believe in, especially if it goes against the spirit of the times, is always valuable.