March Paperback Releases: Fledgling, Theatre of Marvels, What My Bones Know
I’m catching up on three 2022 books I was sent for review and didn’t read at their initial publication. Today I have a memoir of living between Ghana and England and hand-raising two birds, a Victorian pastiche starring a mixed-race actress in London, and an account of being diagnosed with complex PTSD and working towards healing of childhood trauma.
Fledgling by Hannah Bourne-Taylor
Nature-lover Hannah Bourne-Taylor lived in Ghana for eight years for her husband’s job. As a dependent spouse, she was not permitted to work and, in their rural setting, she felt cut off from any expatriate community. From childhood she’d been an obsessive animal rescuer – fishing ants out of swimming pools, for instance – and when she found a swift that had been displaced from its nest, her protective instincts went into overdrive. Collecting hundreds of termites, she fed the bird to a demanding schedule for two weeks before releasing it. This went as disastrously as it could, but she soon got another chance when she found a grounded bronze-winged mannikin finch fledgling after a storm. Their bond was even closer: the bird climbed her body and nested in her hair (she wrote a Guardian article about the experience), and they developed a mutual language of chirps. The care routine sounds like it was not so different from having an infant. She even calls the finch her daemon.
There is something very insular about this narrative, such that I had trouble gauging the passage of time. Raising the two birds, adopting street dogs, going on a pangolin patrol with a conservation charity – was this a matter of a couple of months, or were events separated by years? Ghana is an intriguing setting, yet because there is no attempt to integrate, she can only give a white outsider’s perspective on the culture, and indigenous people barely feature. I was sympathetic to the author’s feelings of loneliness and being trapped between countries, not belonging in either, but she overstates the lessons of compassion and freedom the finch taught. The writing, while informed and passionate about nature, needs a good polish (many misplaced modifiers, wrong prepositions, errors in epigraph quotes, homonym slips – “sight” instead of “site”; “balled” in place of “bawled”; “base” where it should be “bass,” twice – and so on). Still, it’s a promising debut from a valuable nature advocate, and I share her annual delight in welcoming England’s swifts, as in the scenes that open and close the book.
With thanks to Aurum for the free copy for review. Fledgling came out in paperback on 9 March.
Theatre of Marvels by Lianne Dillsworth
Lianne Dillsworth is a Black British author with MAs in creative writing and Victorian studies, interests she combines in this debut novel set in Victorian London. Zillah’s mother, a slave from Barbados, was forced to abandon her seven-year-old daughter. Zillah is mixed-race and grew up in St Giles slum. Too light-skinned to convince as a “savage” when she headlines Crillick’s Variety Theatre show as “Amazonia,” she has to coat herself with greasepaint and soot. As mistress to a viscount, she has access to a life of luxury, but instead chooses to try to free her fellow Black performers, including the “Leopard Lady,” who is exhibited for her skin condition and confined in conditions little better than slavery.
Through secondary characters, we glimpse other options for people of colour: one, Lucien Winters, is a shopkeeper (reminding me of the title character of The Secret Diaries of Charles Ignatius Sancho, a historical figure) but intends to move to Sierra Leone via a colonisation project; another passes as white to have a higher position in the theatre world. It felt odd, though, how different heritages were conflated, such that Zillah, of Caribbean descent, learns a few words of “Zulu” to speak to the Leopard Lady, and Lucien explains Africanness to her as if it is one culture. Perhaps this was an attempt to demonstrate solidarity among oppressed peoples.
There are rivalries with fellow actresses, and well-meaning Quakers who work toward a better society. Much of the characterisation is tissue-thin, however, and a few turns of phrase felt not of the time period (describing someone as being in a “pissy mood”; “If he was in this much of a funk there’d be no getting through to him. I might as well go to bed before he killed my mood completely.”). All told, this never lived up to its first paragraph –
Go to the theatre much? No, nor me. At least not before I became an actress. I know what you’re thinking. Actress, eh? But you can keep your dirty-minded thoughts to yourself. I trod the boards and no more. Doesn’t mean I don’t have a story or two to tell, mind. Would you be kind enough to indulge me if I talked about the old days? Hard as it was back then, I can’t say that if I had my time again I’d change it.
– which promised a much more original voice than we ever get from Zillah. It’s only worth writing in the first person if the narration is remarkable in some way, so this could easily have been in third person limited instead. This was a nicely undemanding selection to start on the ferry ride back from Spain last year, but took much effort to finish because of the 400+ page count and despite the jejune prose (some have labelled this YA for that reason). Fans of Stacey Halls may enjoy it. It’s certainly what I’d call an easy read.
Hutchinson Heinemann sent a proof copy. Theatre of Marvels came out in paperback on 2 March.
What My Bones Know: A Memoir of Healing from Complex Trauma by Stephanie Foo
It’s okay to have some things you never get over.
Radio producer Stephanie Foo was diagnosed with complex PTSD at age 30. Although she briefly delves into the parental abuse that accounts for her trauma, this is – thankfully – mostly about the four years she spent trying to get better. The Malaysian Chinese Foo family moved to San Francisco when she was two years old. Her mother nagged and beat her, and both parents made credible threats to kill her and/or themselves, such as by driving off the road. It’s hard to read this material, but by proportion it doesn’t take up much of the book. Foo’s mother left when she was 13; she later gave her father an ultimatum one day (while wielding an axe!) that also saw him move out. This left her, then a high school student, living alone and in squalor. Unsurprisingly, she engaged in disordered eating and self-harm.
A love of journalism kept Foo from committing suicide, got her into college and landed her podcast roles followed by her dream job with public radio programme This American Life in New York City. However, she struggled with a horrible, exacting boss and, when her therapist issued the diagnosis, she left to commit to the healing process, aided by her new partner, Joey. C-PTSD was named in the 1990s but is not recognised in the DSM; The Body Keeps the Score by Bessel van der Kolk is its alternative bible. Repeated childhood trauma, as opposed to a single event, rewires the brain to identify threats that might not seem rational, leading to self-destructive behaviour and difficulty maintaining healthy relationships.
All that Foo discovers in her research into C-PTSD feels damning, but she focuses on what she can control: sleep, diet, exercise, yoga, meditation, acupuncture, and seeing various therapists. She tries everything from hallucinogenic mushrooms and a gratitude journal to EMDR (like hypnosis but based on eye movement). Working with a therapist from the Center for Child Trauma and Resilience helped her to address the root cause rather than the symptoms. There came a point where I would have been okay with a condensed version of events instead of a blow-by-blow of every therapy attempted, but Foo writes with bravery and clarity, adroitly recreating scenes and dialogue and displaying impressive memory and self-knowledge. The detail and overall optimism should make this helpful to many.
With thanks to Allen & Unwin for the free copy for review. What My Bones Know came out in paperback on 3 March.
Reading Ireland Month 2019: Nonfiction – Lynn Enright and Emilie Pine
It’s my second time participating in Reading Ireland Month, run each March by Cathy of 746 Books and Niall of Raging Fluff. For this week’s nonfiction theme, I’ve put together reviews of two hard-hitting feminist books I happen to have read recently.
Vagina: A Re-education by Lynn Enright (2019)
Sex education is poor and lacking in many parts of the world, Enright argues, including the Ireland she grew up in in the 1980s. We need better knowledge about gender, anatomy (including the range of what’s ‘normal’) and issues of consent, she insists. To that end, she sets out to bust myths about the hymen, clitoris, female orgasm, menstruation, gynecological problems, infertility, pregnancy and menopause. Her just-the-facts approach is especially helpful in her rundown of the female anatomy. She also encourages women not to take no for an answer from doctors who try to deny or minimize their pain.
This is a confident book sometimes marred by TMI (all in the name of openness and honesty, but still…) and repetitive writing. For me, there was too much overlap with other books I’ve read over the last five years or so: Vagina: A New Biography by Naomi Wolf, The Wonder Down Under: A user’s guide to the vagina by two female Norwegian medical students, Gross Anatomy by Mara Altman (waxing), Notes to Self by Emilie Pine (see below! rape, menstruation and infertility) and the upcoming Constellations by Sinéad Gleeson (women’s pain). Thus, after about page 50 I just skimmed this one. If you haven’t read anything like Vagina before, though, it would serve as a wonderfully comprehensive introduction.
Some favorite lines:
“With vaginas, it seems, we doubt what we know. With vaginas, we listen to the lies, more than we listen to the truth. … We perpetuate the unsureness with our silences – and with our acceptance of lies.”
“Pregnancy, abortion, miscarriage and birth are common but extraordinary – each story is unique. Women benefit when those stories are told – and listened to.”
With thanks to Allen & Unwin for the free copy for review.
Notes to Self: Essays by Emilie Pine (2018)
Originally released by Ireland’s Tramp Press, this won the An Post Irish Book Award and has now been re-released by Penguin and other major publishers. You expect the average essay collection to contain 10 or 12 pieces, so the fact that there are only six here accounts for why they drag at a certain point. While I think most could be made snappier, they remain bold, accessible feminist takes on the body and expectations for women’s lives.
I especially liked “Notes on Intemperance,” the first essay, about her alcoholic father’s health crisis and the poor chances of him getting adequate treatment on Corfu, where he lived. She had to beg his nurses to wear gloves. When she learned that staff had to buy such disposables out of their own salaries, she understood – but was still appalled. Just being there was a miracle given there was no love lost between father and daughter.
Other essays are about infertility, the early breakdown of their parents’ marriage, menstruation and body hair, her wild teenage years and being raped, and the working woman’s constant struggle to be ambitious yet vulnerable without coming across as bitchy or oversensitive. The writing style is not flashy, but it doesn’t need to be. This is relatable straight talk, like you might get if you were to sit down with girlfriends of various backgrounds and experiences and actually discuss things that matter.
A favorite passage:
“It is hard to love an addict. Not only practically difficult, in the picking up after them and the handling of those aspects of life they’re not able [to] for themselves, but metaphysically hard. It feels like bashing yourself against a wall, not just your head, but your whole self. It makes your heart hard. … It took years of refusing him empathy before I realised that the only person I was hurting was myself.”
I read an e-copy via NetGalley.
I’ve also started a travel classic by Dervla Murphy, Full Tilt: Ireland to India with a Bicycle (1965), but travel books are such slow reads for me that I’ll likely be working on this one for months. Where I’ve got to now, she’s between Tehran and Afghanistan and nursing a bad sunburn. Already she’s eternally grateful that she brought a gun with her: she’s used it once to fend off wolves, once to deter a would-be rapist, and once to prevent bike thieves. Exciting stuff!
Late in the Day by Tessa Hadley & Improvement by Joan Silber
Late in the Day by Tessa Hadley (2019)
Two London couples: Christine and Alex, and Lydia and Zachary. They’ve known each other for decades, and their affiliations have changed in major, even ironic ways. It was Lydia who was initially infatuated with Alex when he taught both her and Christine, and Christine and Zachary who dated for a time. But this is how things ultimately fell out, each marriage resulting in one daughter. Christine with Alex; Lydia with Zachary.
Except now Zachary is dead. The phone call comes in the novel’s very first sentence. How Lydia and her friends – not to mention her daughter, Grace, who’s studying art in Glasgow – will cope with the loss, and rearrange what was once such a comfortable quadrilateral, is the ostensible subject of the rest of the book. There’s a funeral to plan and a future for Lydia to construct. But the problem, for me, is that every other chapter hosts a seemingly endless flashback to the couples’ backstory. Apart from an odd, titillating moment when the four nearly let down their guard together, these sections don’t reveal an awful lot.
This is my sixth book by Tessa Hadley. Her eye is always sharp on how families work, how relationships fall apart, and how memories form and linger as we age. She’s also a master of third-person omniscience, moving effortlessly between characters’ perspectives. The writing here is exquisite; there’s no question about that. I especially love the descriptive passages, full of so much sensual detail that you can imagine yourself right into a scene:
A breeze fanned the newspaper on the table, the smells of a city summer were wafted through the open window: tar and car exhaust, the bitter-green of the flowering privet hedge. Police horses went past in the broad street, their hooves clip-clopping conversationally alongside the voices of the women who rode them; the stables were nearby.
Her perception was a skin stretched taut, prickling with response to each change in the light outside as it ran through the drama of its sunset performance at the end of the street, in a mass of gilded pink cloud. When eventually the copper beech was only a silhouette cut out against the blue of the last light, Christine pulled down the blinds, put on all the lamps, turned her awareness inwards.
Despite the fine prose, I found the past strand of this novel tedious. If you’re new to Hadley, I’d recommend starting with Clever Girl and/or Bad Dreams and Other Stories.
Late in the Day was published in the UK by Jonathan Cape on February 14th, and in the USA by Harper on January 15th. My thanks to the publisher for the free copy for review.
Improvement by Joan Silber (2017)
I’ve been thinking a lot about linked short story collections, having written a brief article about them for BookBrowse to accompany my review of Carrianne Leung’s That Time I Loved You (those who contributed ideas on Twitter, thank you!). I find them easier to read than the average short story volume because there are fewer characters and settings to keep track of, and you get the fun of tracing unexpected connections between characters. Improvement didn’t quite work for me in that way, mostly because you can tell that it started as one short story, “About My Aunt”: now the untitled first chapter, it is, as you might guess, a solid stand-alone narrative about Reyna and her aunt Kiki. It was originally published in Tin House and collected in The Best American Short Stories 2015.
I was most interested in Kiki, a terrific character with a completely unsuitable name. Her marriage to a Turk failed – but hey, at least she got a great rug out of it, as well as the fun but temporary challenge of third-world life. (“For a hardheaded person, she had let herself be flung about by the winds of love, and she wasn’t sorry either.”) Back in New York City she directs a house-cleaning agency and babysits for Reyna’s four-year-old son, Oliver. Tattooed Reyna’s African-American boyfriend, Boyd, is in prison for three months for selling pot; when he gets out he comes up with the bright idea of smuggling cigarettes between Virginia and New York to profit from the tax difference. He asks Reyna to make one of the pick-ups, but she chickens out at the last minute. Boyd’s friend Claude drives instead, and is killed instantly in a crash.
Part II reaches into the lives of some of the minor characters on the fringes: Claude; Teddy, the truck driver who was the other party in the car accident; Osman, Kiki’s ex-husband; a trio of Germans who passed through their Turkish town in the summer of 1977 with smuggled antiquities in their possession; and so on. For me, these narratives were too diffuse and didn’t hang together as a novel. I had hoped to enjoy this more since it won the National Book Critics Circle Award for Fiction and Silber is one of those writer’s writers you always hear about but never get to read. I found her voice similar to Anne Tyler’s or perhaps Julia Glass’s, but I’m not sure I’d try another book by her.
Improvement was published by Allen & Unwin on February 7th. It came out in the USA from Counterpoint Press in 2017. My thanks to the publisher for the free copy for review.
Bottom line for both:
Subtle, sophisticated but underwhelming.