Sandwich by Catherine Newman (Blog Tour)

Catherine Newman’s second novel for adults, Sandwich, takes place during a week on Cape Cod, a popular Massachusetts beach resort. Rachel, nicknamed “Rocky,” is a fiftysomething mother to two young adults, Jamie and Willa. She and her husband Nick have been renting the same cottage for their family’s summer vacations for 20 years. Although Rocky narrates most of the novel in the first person, in the Prologue she paints the scene for the reader in the third person: “They’ve been coming here for so many years that there’s a watercolor wash over all of it now … pleasant, pastel memories of taffy, clam strips, and beachcombing.”

Also present are Maya, Jamie’s girlfriend; Rocky’s ageing parents; and Chicken the cat (can you imagine taking your cat on holiday?!). With such close quarters, it’s impossible to keep secrets. Over the week of merry eating and drinking, much swimming, and plenty of no-holds-barred conversations, some major drama emerges via both the oldies and the youngsters. And it’s not just present crises; the past is always with Rocky. Cape Cod has developed layers of emotional memories for her. She’s simultaneously nostalgic for her kids’ babyhood and delighted with the confident, intelligent grown-ups they’ve become. She’s grateful for the family she has, but also haunted by inherited trauma and pregnancy loss.

There couldn’t be more ideal reading for women in the so-called “sandwich generation” who have children growing towards independence as well as parents starting to struggle with infirmity. (The contemporary storyline of Barbara Kingsolver’s Unsheltered, which coincidentally is about a character named Willa, is comparable in that respect.) Newman is frank about Willa’s lesbianism and Rocky’s bisexuality, and she doesn’t hold back about the difficulties of menopause, either. Rocky is challenged to rethink her responsibilities as a daughter, wife and mother when she’s surrounded by equally strong-willed people who won’t do what she wants them to. The novel is so quirky, funny and relatable that it’s impossible not to sympathize with Rocky even if, like me, you’re in a very different life situation.

I like the U.S. cover so much more!

One observation I would make is that Rocky is virtually identical to Ash in Newman’s debut, We All Want Impossible Things, and to the author in real life (as I know from subscribing to her Substack). If you read even the most basic information about her, it’s clear that it’s all autofiction. That’s not an issue for me as I don’t think inventing is inherently superior to drawing from experience; some authors write what they know in a literal sense and that’s okay. So, for her fans, more of the same will be no problem at all. But it is a very particular voice: intense, scatty, purposely outrageous. Rocky is a protagonist who says things like, “How am I a feminist, an advocate for reproductive rights, Our Bodies, Ourselves, hear me roar, blah blah, and I am only just now learning about vaginal atrophy?” (A companion nonfiction read would be Nina Stibbe’s Went to London, Took the Dog.)

In outlook Newman reminds me a lot of Anne Lamott, who is equally forthright and whose books similarly juxtapose life’s joy and sorrows, especially in this late passage: “this may be the only reason we were put on this earth. To say to each other, I know how you feel.”

This is a sweet, fun, chatty book that’s about a summer break – and would be perfect to read on a summer break.

With thanks to Anne Cater of Random Things Tours and Doubleday for the free e-copy for review.

 

Buy Sandwich from Bookshop.org [affiliate link]

 

I was delighted to help close out the blog tour for Sandwich. See below for details of where the other reviews have appeared.

Fathers: Reflections by Daughters (Virago Anthology)

Books that dwell on family bonds often spotlight mothers and daughters, or fathers and sons; it seems a bit less common to examine the relationship with the parent of the opposite sex. In advance of Father’s Day, I picked up Fathers: Reflections by Daughters (1983; 1994) and read the first third. As I once did for Mother’s Day with another Virago anthology, Close Company: Stories of Mothers and Daughters, I’ll end up reading it across several years. Where that was a short fiction collection, though, this is all autobiographical pieces.

The section I’ve read so far contains seven essays counting editor Ursula Owen’s introduction, plus a retelling of the fairy tale “Cap o’ Rushes.” Most of the authors were born in the 1940s or 1950s, so a common element is having a father who served in the Second World War – or the First (for Angela Carter and Doris Lessing). There’s a sense, therefore, of momentous past experience that will never be disclosed. As Lessing writes of her father, “I knew him when his best years were over” – that is, after he had lost a leg, given up his favourite foods due to diabetes, and undertaken a doomed farming enterprise in colonial Africa.

Freudian interpretation seems like a given for several of the memoirists. Anne Boston was a posthumous child whose father was killed in the last days of WWII; in “Growing Up Fatherless,” she explores how this might have affected her.

I’ve always tended to discount the effects of being without a father – quite wrongly, I think now. There were effects, and they continued to influence my entire life, if anything increasingly so.

Among these effects, she enumerates a lack of proper “sexual conditioning.” Anthropologist Olivia Harris, too, wonders how a father determines a woman’s relationships with other men:

How far do women choose in their spouses, encourage in their sons, the ideal remembrance of the father? Am I, but not being married, refusing to exchange my father, or am I diffusing that chain of being?

Two authors specifically interrogate the alignment of the father with God. In “Heavenly Father,” Harris compares visions of fatherhood in various cultures, including in Anglican Christianity. Here the father, in parallel with the deity, is something of a distant moral arbiter. Sara Maitland felt the same about her father:

he really did correspond to the archetype of the Father. Many women grow out of their father when they discover that he is not really like what fathers are supposed, imaginatively, mythologically to be: he is weak, or a failure, or dishonest, or uninterested, or goes away. My father was not a perfect person, but he was very Father-like.

Unknown, aloof, a disciplinarian … I wonder if those descriptions resonate with you as much as they do with me?

In between pieces, Owen has reprinted 1–4 quotes from novels or academic sources that are relevant to fathers and daughters. The result is, as she acknowledges in the introduction, “a sort of collage.” She also remarks on the fact that it was difficult for more than one contributor to find a photo of herself with her father because “Dad always takes the photograph.” The essay I haven’t yet mentioned is a sweet but inconsequential two-pager by 13-year-old Kate Owen; it’s just occurred to me that that’s probably the editor’s daughter.

I’ll be interested to see how Michèle Roberts, Adrienne Rich, Alice Munro and more will clarify or complicate the picture of father–daughter relationships in the rest of the volume. (Secondhand from a National Trust bookshop)

Reading the Meow, Part II: Books by Bernardine Bishop and Matt Haig

This is my second contribution to the Reading the Meow challenge, hosted by Mallika of Literary Potpourri, after yesterday’s review of Sleeping with Cats by Marge Piercy. One of the below novels is obviously cat-themed; the other less so, but the cover and blurb convinced me to take a chance on a new-to-me author and I discovered a hidden gem.

The Street by Bernardine Bishop (2015)

Prices are so cheap at my local charity warehouse (3/£1 paperbacks) that I recently did something I almost never do: bought a book I’d never heard of, by an author I’d never heard of, and then (something I definitely never do!) read it almost right away instead of letting it gather dust on my shelves for years. Bishop’s biography is wild. As a new Cambridge graduate, she was the youngest witness in the Lady Chatterley trial in 1960, then published two novels in her early twenties. She married twice, had two sons and a psychotherapy career, and returned to writing fiction after 50 years – prompted by a cancer diagnosis. Unexpected Lessons in Love was shortlisted for the Costa Novel Award in 2013, while this and Hidden Knowledge were both published posthumously, after Bishop’s death in 2015.

So: there is a cat on the cover and the blurb mentions it, too: “a beloved cat achieves immortality.” (I should have realized that was a euphemism, but never mind.) The novel opens with news of the death at 90 of formidable Brenda Byfleet, who’d been a Greenham Common woman and taken part in peace protests right into old age. Neighbours quickly realize someone will need to care for her cat Benn (named for Tony Benn), and the duty falls to Anne and Eric, who have also taken in their grandson while his parents are in Canada.

What follows is a low-key ensemble story that moves with ease between several key residences of Palmerston Street, London, introducing us to a couple struggling with infertility, a war veteran with dementia, an underemployed actor who rescues his wife from her boss’s unwanted attentions, and so on. Most touching is the relationship between Anne and Georgia, a lesbian snail researcher who paints Anne’s portrait. Their friendship shades into quiet, middle-aged love.

There are secrets and threats and climactic moments here, but always the reassuring sense that neighbours are a kind of second family and so someone will be there for you to rely on no matter what you face. (I can think of a certain soap opera theme that expresses a similar sentiment…) Bishop’s style reminds me most of Tessa Hadley’s. She is equally skilled at drawing children and the elderly, and clearly feels love and compassion for her flawed characters: “Everything and everyone in the street was bathed in a blessed ordinariness.”

From Brenda onward, Georgia’s rhetorical question hangs over the short novel: “What is a life?” The implied partial answer is: what is remembered by those left behind. The opening paragraph is perfect –

“Sometimes it is impossible to turn even a short London street into a village. But sometimes it can be easily done. It all depends on one or two personalities.”

… and the last page has kittens. This was altogether a lovely read. Dangit, why didn’t I also buy the other Bishop novel that was on shelf at the charity warehouse?! I’ll have to hope it’s still around the next time I go there. (Secondhand – Community Furniture Project, Newbury)

 

To Be a Cat by Matt Haig (2012)

This was a reasonably cute middle-grade fantasy and careful-what-you-wish-for cautionary tale. On his twelfth birthday, Barney Willow thinks life couldn’t get worse. His parents are divorced, his dad has recently disappeared, he’s bullied by Gavin Needle, and evil head teacher Miss Whipmire seems to have a personal vendetta against him. His only friend is Rissa Fairweather, who lives on a barge. Little does he know that an idle wish to switch places with a cat he pets on the street will set a dangerous adventure in motion. Now he’s a cat and Maurice the cat has his body. Soon Barney realizes there’s a whole subset of cats who are former humans (alongside “swipers,” proper fighting street cats; and “firesides,” who prefer to stay indoors), including Miss Whipmire, who used to be a Siamese cat and has an escape plan that involves Barney. I felt the influence of Roald Dahl and Terry Pratchett, but Haig doesn’t have their writing chops. Apart from Rissa, the characterization is too clichéd. I’m sure I would have enjoyed this at age eight, though. (Little Free Library)

#ReadingtheMeow2024 and 20 Books of Summer, 2: Sleeping with Cats by Marge Piercy

Reviews of books about cats have been a standard element on my blog over the years, and the second annual Reading the Meow challenge, hosted by Mallika of Literary Potpourri, was a good excuse to pick up some more. Tomorrow I’ll review two cat-themed novels; today I have a 2002 memoir that I have been meaning to read for ages.

I discovered Piercy through her poetry, then read Woman on the Edge of Time, a feminist classic that contrasts utopian and dystopian views of the future. Like May Sarton (whom Piercy knew), she devotes equal energy to both fiction and poetry and is an inveterate cat lady. Piercy is still publishing and blogging at 88; I have much to catch up on from her back catalogue. A précis of her life is almost stranger than fiction: she grew up in poverty in Detroit, joining a teen gang and discovering her sexuality first with other girls (“The first time I had an orgasm—I was eleven—I was astonished and also I had a feeling of recognition. Of course, that’s it. As if that was what I had been expecting or looking for”) then with men; had a couple abortions, including one self-administered, then got sterilized; honed her writing craft at college; married three times – briefly to a Frenchman, an unhappy open arrangement, and now for 40+ years to fellow writer Ira Wood; and wrote like a dervish yet has remained on the periphery of the literary establishment and thus struggled financially.

Political activism has been a constant for Piercy, whether protesting the Vietnam War or supporting women’s reproductive rights. She and Wood also nurtured a progressive Jewish community around their Cape Cod home. Again like Sarton, she has always embraced the term feminist but been more resistant to queerness. A generational thing, perhaps; nowadays we would surely call Piercy bisexual or at least sexually fluid, but she’s more apt to dismiss her teen girlfriends and her later affairs with women as a phase. The personal life and career mesh here, though there is more of a focus on the former, such that I haven’t really gotten a clear idea of which of her novels I might want to try. Each chapter ends with one of her poems (wordy, autobiographical free verse), giving a flavour of her work in other genres. She portrays herself as a nomad who wandered various cities before settling into an unexpectedly homely and seasonal existence: “I am a stray cat who has finally found a good home.”

I admired Piercy’s self-knowledge here: her determination to write (including to keep her late mother alive in her) and to preserve the solitude necessary to her work –

I know I am an intense, rather angular passionate woman, not easy to like, not easy to live with, even for myself. Convictions, causes jostle in me. My appetites are large. I have learned to protect my work time and my privacy fiercely. I have been a better writer than a person, and again and again I made that choice. Writing is my core. I do not regret the security I have sacrificed to serve it.

and her conviction that motherhood was not for her –

I did not want children. I never felt I would be less of a woman, but I feared I would be less of a writer if I reproduced. I didn’t feel anything special about my genetic composition warranted replicating it. … I liked many of my friends’ children as they grew older: I was a good aunt. But I never desired to possess them or have one of my own. … I have never regretted staying childless. My privacy, my time for work … are precious. I feel my life is full enough.

“There were no role models for a woman like me,” she felt at the end of college, but she can in her turn be a role model of the female artist’s life, socially engaged and willing to take risks.

As to the title: There is, of course, special delight here for cat lovers. Piercy has had cats since she was a child, and in the Cape Cod era has usually kept a band of five or so. In the interludes we meet some true characters: Arofa the Siamese, Cho-Cho who lived to 21, mother and son Dinah and Oboe, alpha male Jim Beam, and many more. Of course, they age and fall ill and there are some goodbye scenes. She mostly describes these unsentimentally – if you’ve read Doris Lessing on cats, I’d say the attitude is similar. There are extremes of both love and despair: she licks a kitten to bond with her; she euthanizes one beloved cat herself. She wrote this memoir at 65 and felt that her cats were teaching her how to age.

There is a sadness to living with old cats; also a comfort and pleasure, for you know each other thoroughly and the trust is almost absolute. … The knowledge of how much I will miss them is always with me, but so is the sense of my own time flowing out, my life passing and the necessity to value it as I value them. Old cats are precious.

Even those unfamiliar with Piercy’s work might enjoy reading a perspective on the radical movements of the 1960s and 70s. This was right up my street because of her love of cats, her defence of the childfree life, and her interest in identity and memory. Because she doesn’t talk in depth about her oeuvre, you needn’t have read anything else of hers to appreciate reading this. I hope you have a cat who will nap on your lap as you do so. (Secondhand, a gift from my wish list)

20 Books of Summer, 1: Company by Shannon Sanders

I started the summer’s reading right with Company. Shannon Sanders’s energetic debut novel-in-stories traces several generations of the Collins clan, whose experiences at once exemplify African American gentrification and evoke timeless patterns of parental legacy and sibling jealousy. Sisters Cassandra, Fay, Lee and Suzette grew up at their parents’ Atlantic City jazz club before going their separate ways: Cassandra to a PhD and provost position at a college, Fay to painting and the role of family spirit-keeper, Lee to her own brood of four and a no-good jazz musician husband, and Suzette to music and a too-early death. With roots in Mississippi, they have dispersed to Atlanta, New York City and Washington, DC.

We revisit relatives at different points in their lives, mostly between the 1990s and the present day. There are 13 linked stories here, 10 in the third person and three with a first-person narrator. Each focuses on a different individual or set of characters. Celebration scenes make for memorable moments. “Bird of Paradise” is set at the party to commemorate Cassandra’s new position. There’s a Black president at the time and people can’t stop comparing her dress to Michelle Obama’s inaugural ball attire, while she can’t stop fretting that she and her nieces will live up to stereotypes of Black women’s bodies. Later, “La Belle Hottentote” revisits this evening from the nieces’ perspective as they ponder where the family’s money came from. In “Rioja,” Cassandra’s daughter Cecilia, visiting her boyfriend Cole’s family for Thanksgiving, tries not to embarrass him with any pretentious or avant-garde behavior.

The title story, which is among the stand-outs, is the only one to feature the grandparent generation – though Opal and Centennial are but ghosts commenting on the begrudging welcome Fay offers when her niece Aubrey turns up on her doorstep in New Jersey. Fay is the sole sister without partner or children, but she got the family home as a sort of consolation prize and fills its walls with symbolism-heavy portraits of four sisters. My other favorite, alongside this and “Bird of Paradise,” was “The Opal Cleft,” in which Lee’s son Theo hosts his cousin Cyrus (Cassandra’s son) while the latter performs his drag queen act in the area.

I was reminded by turns of Danielle Evans, Kim Coleman Foote and Deesha Philyaw, while final story “The Everest Society,” about Lee’s daughter Mariolive’s desperation to impress the social worker who has to okay her and Dante adopting, recalls Sidik Fofana with its composite picture of their apartment building’s residents. In a few cases I felt that Sanders might have extended the sphere too wide by moving outside the family: “The Gatekeepers” I assume is about a co-worker or neighbor of Cassandra’s; “Mote” is about Cole’s cousin and his partner (and makes the one white woman in the book evil…); and “Dragonflies” features that cousin’s colleague. It’s not to say that these aren’t good stories, but I wondered why they couldn’t have starred extended family members instead.

Trying to get pregnant and the early days of motherhood are recurring concerns, as is the distribution of talent and wealth around the family and beyond. As these characters reach toward the upper middle class, they keep in mind the struggles they came from. Although the family legends morph over the years, shared habits and heirlooms make connections across the generations. Sanders is strong on characterization, scene-setting and social observation; I would happily have spent even longer with the Collins family. I’ll be keen to follow her career in the years to come.

With thanks to Pushkin Press for the free copy for review.

Wendell Berry’s “Why I Am Not Going to Buy a Computer” & Why I Acquired My First Smartphone at Age 40.5

Wendell Berry is an American treasure: the 89-year-old Kentucky farmer is also a philosopher, poet, theologian, and writer of fiction, and many of his pronouncements bear the timeless wisdom of a biblical prophet. I’ve read his work from several genres and was curious to see how this 1987 essay – originally published in Harper’s Magazine and reprinted, along with some letters to the editor in response, plus extra commentary in the form of a 1990 essay, by Penguin in 2018 as the 50th and final entry in their Penguin Modern pamphlet series – might resonate with my own reluctance to adopt current technology.

The title essay is brief, barely filling 4.5 pages of a small-format paperback. It’s so concise that it would be difficult to summarize in many fewer words, but I’ll run through the points he makes across the initial essay, the replies to the correspondence, and a follow-up piece entitled “Feminism, the Body and the Machine” (1989). Berry laments his reliance on energy corporations and wants to limit that as much as possible. He decries consumerism in general; he isn’t going to acquire something just to be ‘keeping up with the times’. He doesn’t believe a computer will make his work better, and it doesn’t meet his criteria for a useful tool (smaller, cheaper and less energy-intensive than what it replaces; sourced locally and easily repaired by a non-specialist). He is perfectly happy with his current arrangement: he writes his work by hand and his wife types it up for him. He is loath to lose this human touch.

The letters to the editor, predictably, accuse him of self-righteousness for depicting his choice as the more virtuous one. The correspondents also felt they had to stand up for Berry’s wife, who might have better things to do than act as her husband’s secretary. This is the only time the author becomes slightly defensive, basically saying, ‘you don’t know anything about me, my wife or my marriage … maybe she wants to!’ He doubles down on the environmental harm caused by technology and consumerism, acknowledging his continued dependence on fossil fuels and vowing to avoid them, and unnecessary purchases, where possible.

If some technology does damage to the world, … then why is it not reasonable, and indeed moral, to try to limit one’s use of that technology?

To the extent that we consume, in our present circumstances, we are guilty. To the extent that we guilty consumers are conservationists, we are absurd. … can we do something directly to solve our share of the problem? … Why then is not my first duty to reduce, so far as I can, my own consumption?

If the use of a computer is a new idea, then a newer one is not to use one.

He even appears to speak prophetically to the rise of artificial intelligence:

My wish simply is to live my life as fully as I can. … And in our time this means that we must save ourselves from the products that we are asked to buy in order, ultimately, to replace ourselves. The danger most immediately to be feared in ‘technological progress’ is the degradation and obsolescence of the body.

Certain of his arguments felt relevant to me as I ponder my own relationship to technology. I compose all my reviews on a 19-year-old personal computer that’s not connected to the Internet. I don’t listen to the radio and have seen maybe three films in the past two years. We’ve been television-free for a decade and I have never regretted it (Berry: “It is easy – it is even a luxury – to deny oneself the use of a television set, and I zealously practice that form of self-denial. Every time I see television (at other people’s houses), I am more inclined to congratulate myself on my deprivation.”).

I find it so hard to adjust to new tech that my reluctance may have shaded into suspicion. I’m certainly no early adopter, but I’d also object to the label “Luddite”: since 2013 I’ve been using e-readers, which are invaluable in my reviewing work. But for 15 years or more I have been looking at other people and their smartphones with disdain. I prided myself on my resistance. Stubbornness seemed like a virtue when the alternative was spending a lot of money on something I didn’t need.

Receiving my first cell phone in July 2004 (with my dad at left; at Dulles airport).

Two months ago, though, I finally gave in and accepted a hand-me-down Motorola Android phone from my father-in-law, after nearly 20 years of using an old-style mobile phone. As we were renegotiating our phone and Internet contract, I got virtually unlimited minutes and data on this device for £6/month, with no initial outlay. Had I been forced to make a purchase, I think I would still be holding out. But I had gotten to the point where refusal was cutting off my nose to spite my face. Why keep martyring myself – saying I couldn’t make important household phone calls because they drained my pay-as-you-go credit; learning complex workarounds to post to Instagram from my PC; taking crap photos on a digital camera held together with a rubber band? Why resist utility just for the sake of it?

To be clear, this was not a matter of saving time. I’m not a busy person. Plus I believe there is value in slowing down and acting deliberately. (See this book-based article I wrote for the Los Angeles Review of Books in 2018 on the benefits of “wasting time.”) Mindless scrolling is as much a temptation on a PC as on a phone, so avoiding social media was not a motive for me; others with addictive tendencies may decide otherwise. Nor did I view convenience as reason enough per se. However, I admit I was attracted to the efficiency of a pocket-sized device that can at once replace a computer, pager, telephone, Rolodex, phonebook, camera, photo album, television screen, music player, camcorder, Dictaphone, stopwatch, calculator, map, satnav, flashlight, encyclopaedia, Kindle library, calendar, diary, Post-It notes, notebook, alarm clock and mirror. (Have I missed anything?) Talk about multi-tasking!

Out with the old, in with the new?

I would still say that I object to tech serving as a status symbol or a basis for self-importance, and I’d be pretty dubious about it ever being a worthwhile hobby. Should this phone fail me in future, I’ll copy my husband’s habit of buying a secondhand handset for £60–80. I wouldn’t acquire something that represented new extraction of rare resources. Treating things (or people) as disposable is anathema to me, something about which I know Berry would agree. I’m naturally parsimonious, obsessive about keeping things going for as long as possible and recycling them responsibly when they reach their end of life.

It’s one reason why I’ve gotten involved in the Repair Café movement. I volunteer for our local branch, which started up in February, on the admin and publicity side of things. The old-fashioned, make-do-and-mend ethos appeals to me. It’s the same spirit evoked in the lyrics of American singer-songwriter Mark Erelli’s “Analog Hero”:

He’s the fix-it man, the fix-it man

If he can’t put it back together, then it was never worth a damn

Maybe he’s crazy for trying to save what’s already gone

 

Now it ain’t even broken and we’re going for the upgrade

Nobody thinks twice ’bout what we’re really throwing away

 

It’s out with the old, in with the new…

I can imagine Wendell Berry still pecking out his words on a typewriter on his Kentucky farm. He’s an analogue hero, too. And he doesn’t go nearly as far as Mark Boyle, whose radical life experiment is recounted in The Way Home: Tales from a life without technology, which I reviewed for Shiny New Books in 2019.

I have pretty much made my peace with owning a smartphone. I have few apps and am still more likely to work at my PC or on paper. I’ll concede that I enjoy being able to post to X or Instagram wherever I am, and to keep up with messages on the go. (I used to have to say cryptic things to friends like, “once I leave the house, I will be unavailable except by text.”) Mostly, I’m relieved to have shed the frustrations of outmoded tech. Though I still keep my Nokia brick by my bedside as a trusty alarm clock – and a torch for when the cat wakes me between 2 and 5 each morning.

Ultimately, I feel, a smartphone is a tool like any other. It’s how you use it. Salman Rushdie comes to much the same conclusion about the would-be murder weapon wielded against him: “a knife is a tool, and acquires meaning from the use we make of it. It is morally neutral” (from Knife).

Berry’s argument about overreliance on energy remains a good one, but we are all so complicit in so many ways – even more so than in the late 1980s when he was writing – that avoiding the computer, and now the smartphone, doesn’t seem to hold particular merit. While this pamphlet will be but a quaint curio piece for most readers (rather than a parallel to the battle of wills I’ve conducted with myself), it is engaging and convincing, and the societal issues it considers are still ones to be wrestled with.

My copy was purchased with part of a £30 voucher I received free from Penguin UK for being part of their “Bookmarks” online community – answering polls, surveys, etc.

Book Serendipity, April to May 2024

I call it “Book Serendipity” when two or more books that I read at the same time or in quick succession have something in common – the more bizarre, the better. Of course, the truer term would be synchronicity, but the branding has stuck. In Liz Jensen’s Your Wild and Precious Life, she mentions that Carl Jung coined the term “synchronicity” for what he described as “a meaningful coincidence of two or more events where something other than the probability of chance is involved.” I like thinking that it’s not just a matter of luck.

This is a regular feature of mine every couple of months. I would normally have waited until the end of June, but I had way too many coincidences stored up! Because I usually have 20–30 books on the go at once, I suppose I’m more prone to finding them. People frequently ask how I remember all of these incidents. The answer is: I jot them down on scraps of paper or input them immediately into a file on my PC desktop; otherwise, they would flit away.

The following are in roughly chronological order.

  • Reading two King Lear updates at the same time: Private Rites by Julia Armfield and Daughter by Claudia Dey. The former has been specifically marketed as a “lesbian Lear,” but I had no idea that the latter also features two sisters plus a younger half-sister and their interactions with a larger-than-life father.
  • Eating beans straight out of the tin in The Waterfall by Margaret Drabble and Of Mice and Men by John Steinbeck.

 

  • Dead mice in Of Mice and Men by John Steinbeck and Stone Yard Devotional by Charlotte Wood.
  • Cloth holding the jaw of a corpse closed in one story from Barcelona by Mary Costello and A Woman’s Story by Annie Ernaux.

 

  • Others see a character’s wife as a whore but the husband is oblivious in The Shipping News by E. Annie Proulx and Of Mice and Men by John Steinbeck.

 

  • Setting up a game of solitaire in The Snow Hare by Paula Lichtarowicz and Of Mice and Men by John Steinbeck.

 

  • Main character called Mona in Daughter by Claudia Dey and Mona of the Manor by Armistead Maupin.

 

  • Being surprised at an older man still having his natural hair colour in one story of Barcelona by Mary Costello (where he’s aged 76) and Life in the Balance by Jim Down (where it’s Alan Bennett, at 84!).

 

  • A character named Anjali in Brotherless Night by V.V. Ganeshananthan and Moral Injuries by Christie Watson.
  • A character named Cherry in Daughter by Claudia Dey and one story of This Is Why We Can’t Have Nice Things by Naomi Wood.

 

  • My second memoir in two months in which a twentysomething son dies suddenly of a presumed heart problem: Fi by Alexandra Fuller, followed by Your Wild and Precious Life by Liz Jensen. (And a third in which his young friend died in the same way: The Uptown Local by Cory Leadbeater.) Also, Fuller and Jensen both see signs of their sons’ continued presence in bird sightings.

 

  • Scratches on the inside of a coffin as proof of being buried alive in one story of Barcelona by Mary Costello and Life in the Balance by Jim Down.
  • Surprise that one didn’t know the exact moment that a loved one died in one story of Barcelona by Mary Costello and Your Wild and Precious Life by Liz Jensen.

 

  • Discussion of the meaning of brain stem death and a mention of meningococcal sepsis in Life in the Balance by Jim Down and Moral Injuries by Christie Watson.

 

  • A scene set in a Denny’s diner in The Whole Staggering Mystery by Sylvia Brownrigg and After Dark by Haruki Murakami.
  • A description of halal butchery in Barcelona by Mary Costello and Between Two Moons by Aisha Abdel Gawad.

 

  • A mention of ballet choreographer George Balanchine in Dances by Nicole Cuffy and The Uptown Local by Cory Leadbeater.
  • A woman has an affair with a female postal worker in Mona of the Manor by Armistead Maupin and The Shipping News by Annie Proulx, both of which I DNFed.

 

  • A character named Magdalena in Cloistered by Catherine Coldstream and The Snow Hare by Paula Lichtarowicz. The latter goes by Lena, which is also the name of the main character in Jungle House by Julianne Pachico. And there’s a character named Lina in Between Two Moons by Aisha Abdel Gawad.
  • Being presented with powdered milk in Cloistered by Catherine Coldstream and Whale Fall by Elizabeth O’Connor.

 

  • First I read a novel about a convent plagued by mice (Stone Yard Devotional by Charlotte Wood). Then I read a memoir about a convent plagued by feral cats (Cloistered by Catherine Coldstream).

 

  • Buffalo, New York as a setting in Consent by Jill Ciment and The Age of Loneliness by Laura Marris. It’s also mentioned in Enter Ghost by Isabella Hammad.
  • Watching pigeons on one’s balcony in Keep by Jenny Haysom, Your Wild and Precious Life by Liz Jensen, and The Uptown Local by Cory Leadbeater.

 

  • The family’s pet chicken is cooked for dinner in Coleman Hill by Kim Coleman Foote and The Snow Hare by Paula Lichtarowicz.

 

  • The mother is named Gloria in Consent by Jill Ciment and Cold Spring Harbor by Richard Yates (and The War for Gloria by Atticus Lish, a DNF).

 

  • A character named Anton in The Snow Hare by Paula Lichtarowicz and Jungle House by Julianne Pachico.

 

  • A cat named Dog in The Door-to-Door Bookstore by Carsten Henn and a dog named Tiger in Jungle House by Julianne Pachico.

 

  • Two nature books that feature wild cold-water swimming (though don’t they all these days?!): In All Weathers by Matt Gaw and Your Wild and Precious Life by Liz Jensen.
  • Two nature books that mention W.H. Hudson: In All Weathers by Matt Gaw and North with the Spring by Edwin Way Teale.

 

  • A large anonymous donation to a church in Slammerkin by Emma Donoghue and Excellent Women by Barbara Pym (£10–11, which was much more in the 18th century of the former than in the 1950s of the latter).

 

  • A mention of Poughkeepsie, New York in Birdeye by Judith Heneghan and Woman of Interest by Tracy O’Neill.

 

  • A 1950s scene of perusing a lipstick display in Recipe for a Perfect Wife by Karma Brown and Excellent Women by Barbara Pym.
  • A woman with a broken leg worries about how her garden will fare in Recipe for a Perfect Wife by Karma Brown and Remarkably Bright Creatures by Shelby Van Pelt.

 

  • The same silent film image of a spaceship entering the moon’s eye (from Georges Méliès’s A Trip to the Moon) appears in Knife by Salman Rushdie and The Invention of Hugo Cabret by Brian Selznick. (I think this is the uncanniest coincidence of all this time!)
  •  A cleric who wears a biretta in Excellent Women by Barbara Pym and Daughters of the House by Michèle Roberts.

 

  • A Black single mother who believes in the power of crystals in Company by Shannon Sanders and Another Word for Love by Carvell Wallace.
  • An older woman really doesn’t want to leave her home but is moving into a retirement facility in Keep by Jenny Haysom and Remarkably Bright Creatures by Shelby Van Pelt. (There’s also a young woman who refuses to leave her house in Recipe for a Perfect Wife by Karma Brown.)

 

  • A man throws his tie over his shoulder before eating in Recipe for a Perfect Wife by Karma Brown and Keep by Jenny Haysom.

 

  • A mother writing a bad check becomes an important plot point in Remarkably Bright Creatures by Shelby Van Pelt and Another Word for Love by Carvell Wallace.

 

  • A scene of self-induced abortion in Recipe for a Perfect Wife by Karma Brown and Sleeping with Cats by Marge Piercy.

 

  • The Yiddish word feh (an expression of disappointment) appears in Feh by Shalom Auslander (no surprise there!) but also in A Reason to See You Again by Jami Attenberg, both of which are pre-release books I am reading for Shelf Awareness reviews.

What’s the weirdest reading coincidence you’ve had lately?

Literary Wives Club: Recipe for a Perfect Wife by Karma Brown (2019)

{SPOILERS IN THIS REVIEW!}

Canadian author Karma Brown’s fifth novel features two female protagonists who lived in the same house in different decades. The dual timeline, which plays out in alternating chapters, contrasts the mid-1950s and late 2010s to ask 1) whether the situation of women has really improved and 2) if marriage is always and inevitably an oppressive force.

Nellie Murdoch loves cooking and gardening – great skills for a mid-twentieth-century housewife – but can’t stay pregnant, which provokes the anger of her abusive husband, Richard. To start with, Alice Hale can’t cook or garden for toffee and isn’t sure she wants a baby at all, but as she reads through Nellie’s unsent letters and recipes, interspersed with Ladies’ Home Journal issues in the boxes in the basement, she starts to not just admire Nellie but emulate her. She’s keeping several things from her husband Nate: she was fired from her publicist job after a pre-#MeToo scandal involving a handsy male author, she’s had an IUD fitted, and she’s made zero progress on the novel she’s supposed to be writing. But Nellie’s correspondence reveals secrets that inspire Alice to compose Recipe for a Perfect Wife.

The chapter epigraphs, mostly from period etiquette and relationship guides for young wives, provide ironic commentary on this pair of not-so-perfect marriages. Brown has us wondering how closely Alice will mirror Nellie’s trajectory (aborting her pregnancy? poisoning her husband?). There were clichéd elements, such as Richard’s adultery, glitzy New York City publishing events, Alice’s quirky-funny friend, and each woman having a kindly elderly (maternal) neighbour who looks out for her and gives her valuable advice. I felt uncomfortable with how Nellie’s mother’s suicide makes it seem like Nellie’s radical acts are borne out of inherited mental illness rather than a determination to make her own path.

Often, I felt Brown was “phoning it in,” if that phrase means anything to you. In other words, playing it safe and taking an easy and previously well-trodden path. Parallel stories like this can be clever, or can seem too simple and coincidental. However, I can affirm that the novel is highly readable and has vintage charm. I always enjoy epistolary inclusions like letters and recipes, and it was intriguing to see how Nellie uses her garden herbs and flowers for pharmaceutical uses. Our first foxglove just came into flower – eek! (Kindle purchase)

 

The main question we ask about the books we read for Literary Wives is:

What does this book say about wives or about the experience of being a wife?

  • Being a wife does not have to mean being a housewife. (It also doesn’t have to mean being a mother, if you don’t want to be one.)
  • Secrets can be lethal to a marriage. Even if they aren’t literally so, they’re a really bad idea.

This was, overall, a very bleak picture of marriage. In the 1950s strand there is a scene of marital rape – one of two I’ve read recently, and I find these particularly difficult to take. Alice’s marriage might not have blown up as dramatically, but still doesn’t appear healthy. She forced Nate to choose between her and the baby, and his job promotion in California. The fallout from that ultimatum is not going to make for a happy relationship. I almost thought that Nellie wields more power. However, both women get ahead through deception and manipulation. I think we are meant to cheer for what they achieve, and I did for Nellie’s revenge at Richard’s vileness, but Alice I found brattish and calculating.

See Kate’s, Kay’s and Naomi’s reviews, too!

 

Coming up next, in September: Their Eyes Were Watching God by Zora Neale Hurston.

The Ministry of Time by Kaliane Bradley

This was one of my Most Anticipated releases of the year and I’m happy to report that it pretty much lived up to my high hopes. I rightly had in mind that it would be a zany time-travel romance involving a modern-day civil servant falling in love with her charge, who was a real-life Victorian polar explorer. The blurb had me expecting something rather light and one-dimensional, so it was a pleasant surprise to find that this nuanced debut novel alternately goes along with and flouts the tropes of spy fiction and science fiction, and makes clever observations about how we frame stories of empire and progress.

The unnamed first-person narrator is, like Bradley, a young British-Cambodian woman. She is blasé about her government work in languages and relishes the chance to do something a bit different. After a rigorous set of interviews for the Ministry’s mysterious new project, she is hired as a “bridge” helping to resettle one of five “expatriates” from history in near-future London. Her expat is “1847,” 38-year-old Commander Graham Gore, rescued before his death on Sir John Franklin’s ill-fated Arctic expedition.

Two of the other expats, Arthur aka “1916” and seventeenth-century nonconformist Margaret Kemble (both queer), become Gore’s close friends. It’s a delight to watch these characters take up new vocabulary and technology and handpick the things they appreciate about popular culture. There are some hilarious scenes of the gang all together, particularly those involving music: Arthur and Graham put on a ‘disco’, the narrator teaches them all to do the electric slide before a clubbing outing, and they have a go on a theremin.

Gore lives in the narrator’s flat while she oversees his adjustment. At times he is like her “overgrown son,” testing the boundaries and expressing knee-jerk disapproval of things he doesn’t understand. Gradually their bizarre housemate situation turns into an odd-couple romance. “He was an anachronism, a puzzle, a piss-take, a problem, but he was, above all things, a charming man. … I was concussed with love for him. I bent my head to the cudgel.”

Although this feels like wish-fulfilment (imagine choosing a historical figure you find vaguely hot, bringing them back to life, and then giving your fictional stand-in a chance with them), Bradley doesn’t completely gloss over the difficulties their backgrounds and mores would cause. Most noteworthy is his exoticization of her as a mixed-race woman. Occasional passages in archaic font introducing vignettes from Gore’s time in the Arctic suggest that his reaction to the narrator may be informed by a pivotal encounter he had with a bereaved Inuit woman. The expats undergo intense sensitivity training, but the imperial mindset is hard to root out, and even the narrator, whose mother was a refugee from the Khmer Rouge, isn’t sure she’s always getting it right when it comes to racism and assimilation.

Bradley’s descriptive prose is a highlight (“he looked oddly formal, as if he was the sole person in serif font”; “A great graphite pencil inscribed the diagonal journey of water on the air”), memorable but never too quirky just for the sake of it. At a certain point, plot starts to take over and pushes aside the quiet playfulness of the culture shock scenes. I did miss the innocent joy, but that’s Bradley’s point: mess around with the past and grave consequences are bound to follow. We learn that the Ministry has a double agent, that there are visitors from later centuries as well as previous ones, and that the narrator’s own future is at stake.

Maybe because I don’t read hard SF, it didn’t bother me that the explanations and world-building are a little bit thin here. You just have to suspend disbelief at the start and then go with it. The result is a witty, sexy, off-kilter gem. I haven’t had so much sheer fun with a book since Curtis Sittenfeld’s Romantic Comedy, and I will be looking out for whatever Bradley writes next.

With thanks to Sceptre for the free copy for review.

Buy a copy from Bookshop.org UK! [affiliate link]

 

May was a big month for new releases and I have lots more review books on the go or waiting in the wings to be reviewed in catch-up posts!

20 Books of Summer Plan

It’s my seventh year in a row participating in Cathy’s 20 Books of Summer challenge, which starts on 1 June and runs through the 1st of September.

In most previous years I have chosen a theme.

2018: Books by women

2019: Fauna

2020: Food

2021: Colours

2022: Flora

Last year was a grab bag, but about a third of my choices were foodie again. I love picking the books for a themed challenge, but when it comes to actually reading them, I often get bored reading around the same topic, even if I had ensured a variety of fiction/nonfiction, author style, etc.

So this year the plan is simply to read hardback books that I own. I have at least 80–100 options, across genres and of all lengths; review copies, set-aside books and rereads are all possible. I fancy curating a blend of recent acquisitions and long-time shelf sitters. By the end of August I can decide whether they’re keepers or I want to pass them along to make room for others; the width of 20 hardbacks should be significant!

You’ll see options on shelves dotted all around the house:

Here’s a tentative list of 20 hardbacks that are catching my eye right now – but I reserve the right to change my mind and ditch any or all of them in favour of other books that appeal more at the time!

Leave the World Behind by Rumaan Alam (Free from a neighbour) – There was a lot of buzz about this a few years ago and I intended to read it right away but didn’t for whatever reason. My impression is of a literary novel that turns into a domestic thriller.

 

Cheri by Jo Ann Beard (New, Hungerford Bookshop with birthday voucher last year) – Cathy spoke very highly of this during Novellas in November. I daresay I’ll be grateful for one very short option over the summer. I wish more of my hardbacks were so slender!

 

The Teleportation Accident by Ned Beauman (Secondhand, Awesomebooks.com) – This would be my one reread of the challenge. I’ve read all but one of Beauman’s novels and this is the one I remember most fondly. Zany historical fiction with a fantasy twist.

 

A Perfect Arrangement by Suzanne Berne (Secondhand, Community Furniture Project) – I don’t know anything about this but I’m expecting it to be, like her Women’s Prize winner, A Crime in the Neighborhood, light yet substantial and quietly gripping.

 

What I Thought I Knew by Alice Eve Cohen (Secondhand, Amazon with gift money) – I loved her 2015 memoir, The Year My Mother Came Back, so much that I sought out her previous one … but it has sat on the shelf unread for years.

 

On Trying to Keep Still by Jenny Diski (Secondhand, Awesomebooks.com) – I’ve loved everything I’ve read by Diski so far. This is a book of travel essays.

 

Girlhood by Melissa Febos (New, Christmas gift last year) – I was so impressed by her latest essay collection, Body Work, that I knew I had to read everything else she’s written. This previous collection mixes memoir and feminist social history.

 

Maurice by E.M. Forster (Secondhand, Wonder Book and Video?) – I’ve owned this for so long that I can’t remember when and where I got it, but I’m guessing it came from the used bookstore where I worked in college. My only major Forster work still unread.

 

The Museum of Whales You Will Never See by A. Kendra Greene (Secondhand, Bas Books & Home) – More essays to slake the desire for armchair travel. This one’s set entirely in Iceland and is all about quirky museum collections.

 

Alone in the Classroom by Elizabeth Hay (Secondhand, Christmas gift last year) – I’ll read anything Hay writes. This will be my third novel from her.

 

The Earthquake Bird by Susanna Jones (Secondhand, Hay-on-Wye in 2020) – Doesn’t feel like I bought it ages ago, but nearly four years have passed. I thought her When Nights Were Cold (historical fiction about women’s mountaineering) was fantastic in 2013.

 

The Memoir Club by Laura Kalpakian (Secondhand, 2nd & Charles) – I’ve long wanted to try this author and finally found one of her books on a clearance shelf in December. I’m expecting slightly fluffy fun à la Elizabeth Berg et al., perfect for summer.

 

City of the Mind by Penelope Lively (Secondhand, French LFL) – My most recent acquisition; why not get to it right away? Besides, Lively is one of four authors on this list (the others are Diski, Forster and Hay) by whom I own two or more unread books.

 

Home/Land by Rebecca Mead (Review copy) – An Anglo-American memoir should be right up my street. I don’t know why I’ve let this one sit around for ages.

 

A House Full of Daughters by Juliet Nicolson (Free from a neighbour) – A family memoir about Vita Sackville-West’s clan. I don’t often read biographical stuff (as opposed to straight autobiographies), so this is a good excuse.

 

Nine Inches by Tom Perrotta (Free from a neighbour) – Short stories of blue-collar America. I used to love Perrotta and have read most of his books. Maybe I’ll find him a little macho these days, though.

 

The Lost Love Songs of Boysie Singh by Ingrid Persaud (Signed copy won in a Faber Instagram giveaway) – I loved her debut novel, Love after Love, but have been daunted by the length of this follow-up, which I know to contain multiple POVs and patois.

 

Greta & Valdin by Rebecca K. Reilly (Review copy) – A quirky novel about queer siblings and their oddball family in New Zealand. I started it in April but haven’t made much of a dent, so this is my strategy for getting back into it.

 

All Things Are Too Small by Becca Rothfeld (Review copy) – Cultural criticism from the Washington Post’s in-house nonfiction book reviewer, a philosophy PhD candidate. I’ve sampled the first few pages so far.

 

Company by Shannon Sanders (Review copy) – Linked short stories about the members of one extended Black family. I got partway through one story earlier in the month but it’s time to get back into it in earnest.

 

What do you make of my list? See any other hardback options in the photos that I should prioritize instead?