The Suspicions of Mr Whicher Stage Production
Just a few months after Notes from a Small Island, it was back to one of my local theatres, The Watermill, for the stage adaptation of another book club selection, this time the Victorian true crime narrative The Suspicions of Mr Whicher by Kate Summerscale, which won the Samuel Johnson Prize (now called the Baillie Gifford Prize) for non-fiction in 2008.
I must have read the book in 2009, the year after it first came out, and while I had the best intentions of rereading it in time for our book club meeting earlier this month, I didn’t even manage to skim it. I remembered one fact alone, the method of murder, which is not surprising as it was particularly gruesome: A young boy had his throat slit and was stuffed down the privy. But that was all that had remained with me. My husband filled me in on the basics and the discussion, held at our house, reminded me of the rest. We then made it a book club outing to the theatre.
The crime took place in late June 1860 at the Wiltshire home of the Kent family: the patriarch, a factory inspector; his four children from his first marriage; his second wife, formerly the older set’s governess; and their three young children. Jonathan “Jack” Whicher, sent by Scotland Yard to investigate, was one of London’s first modern detectives and inspired Wilkie Collins and Charles Dickens. Constance Kent, 16, later confessed to the murder of her three-year-old half-brother, Saville, motivated by anger at her stepmother for replacing her mentally ill mother, but uncertainty remained as to whether she had acted alone.
The play was very well done, maintaining tension even though there was a decision to introduce Constance as the killer immediately: the action opens on her and Mr Whicher in her cell at Fulham Prison in the 1880s. This is an invented scene in which he has come to visit, begging her to tell him the whole truth in exchange for him writing a letter to try to secure her early release. (She appealed four times but ended up serving a full 20-year sentence.)
Cold, stark lighting and a minimal set of two benches against a backdrop of steel doors and a mullioned window evoke the prison setting, with only the subtle change to warmer lighting indicating flashbacks as Constance and Whicher remember or act out events from 20 or more years before. These two remain on stage for the entirety of the first act. Four other actors cycle in and out, playing Kent family members and various other small roles. For instance, the bearded middle-aged actor who plays Mr Kent also appears as a coroner giving a precis of Saville’s autopsy – he mentions Collins and Dickens, but the evolution of the Victorian detective is, by necessity, a much smaller element of the play than it was in the book.
It’s a tiny theatre, but projections on a screen (such as a sinuous family tree) and a balcony, used for wordless presence or loud pronouncements, made it seem bigger than it was. Saville himself is only depicted as a mute figure on that upper level, in the truly spooky scene that closes the first act. I remember when the Watermill put out a discreet call for child actors, warning parents about the sort of content to expect. Three children play the role (plus one other bit part) in rotation. Pulsing violin music enhanced the feeling of dread, and each act was no more than 45 minutes, so the atmosphere remained taut.
A missing nightdress – presumably blood-stained – as well as her own father’s hunch, were among the main evidence against Constance, so Whicher did not secure a conviction at the time and was publicly ridiculed for his failure to crack the case. That and his own loss of a child are suggested to be behind his obsession with tying up loose ends. While Constance expresses regret for her actions and calmly takes him through the accepted timeline of the murder, she refuses to give him anything extra.
The second act delves into what happened next for Constance: living among nuns in France and then in Brighton, where she decided to confess, and then relocating to Australia, where she worked in a halfway house for lepers and troubled youth, as if to make up for the harm she caused earlier in her life (and she lived to age 100!). This involved the most significant change of set and actors, with the former Mr. and Mrs. Kent now filling in as the older Constance and William, the brother closest to her in age.
The play fixates on the siblings’ relationship, returning several times to their whim to run away to Bristol and be “cabin boys” together. I wondered if there was even meant to be a sexual undercurrent to their connection. William Savill-Kent went on to be a successful marine biologist specialising in corals and Australian fisheries. One theory is that they were accomplices in the murder but Constance took the fall so that her brother could live a full life.
Intriguingly, the team behind the production decided to espouse this hypothesis explicitly. In the chilling final scene, then, a crib is wheeled out to the centre of the stage and Constance floats on in a white nightdress to lower the side closest to the audience. Just before the lights go down, William, too, appears in a white nightdress and stands over the far side of the crib.
Although I referred to the book as “compulsive” in the one mention I find of it in my computer files, from 2011, I only gave it 3 stars – my most common rating in those years, an indication that a book was alright but I moved right along to the next in the stack and it didn’t stick with me. My book club had mixed feelings, too, generally feeling that there was too much extraneous detail, which perhaps kept a narrative that could have read as fluidly as a novel from being truly gripping. The play, though, was thrilling.
Book (c. 2009):
Buy The Suspicions of Mr. Whicher from Bookshop.org [affiliate link]
Three on a Theme: Frost Fairs Books
Here in southern England, we’ve just had a couple of weeks of hard frost. The local canal froze over for a time; the other day when I thought it had all thawed, a pair of mallard ducks surprised me by appearing to walk on water. In previous centuries, the entire Thames has been known to freeze through central London. (I’d like to revisit Virginia Woolf’s Orlando for a 17th-century scene of that.) This thematic trio of a children’s book, a historical novel, and a poetry collection came together rather by accident: I already had the poetry collection on my shelf, then saw frost fairs referenced in the blurb of the novel, and later spotted the third book while shelving in the children’s section of the library.
A Night at the Frost Fair by Emma Carroll (2021)
Maya’s mum is visiting family in India; Maya and her dad and sister have just settled Gran into a clinical care home. Christmas is coming, and Gran handed out peculiarly mismatched presents: Maya’s older sister got a lovely brooch, while her own present was a weird brick-shaped brown object Gran says belonged to “Edmund”. Now the family is in a taxi home, crossing London Bridge, when Maya notices snow falling faster than seems possible and finds herself on a busy street of horse-drawn carriages, overlooking booths and hordes of people on the frozen river.
A sickly little boy named Eddie is her tour guide to the games, rides and snacks on offer here in 1788, but there’s a man around who wants to keep him from enjoying the fair. Maya hopes to help Eddie, and Gran, all while figuring out what the gift parcel means. A low page count meant this felt pretty thin, with everything wrapped up too soon. The problem, really, was that – believe it or not – this isn’t the first middle-grade time-slip historical fantasy novel about frost fairs that I’ve read; the other, Frost by Holly Webb, was better. Sam Usher’s Quentin Blake-like illustrations are a bonus, though. (Public library)
The Weather Woman by Sally Gardner (2022)
This has been catalogued as science fiction by my library system, but I’d be more likely to describe it as historical fiction with a touch of magic realism, similar to The Mermaid and Mrs Hancock or Things in Jars. I loved the way the action is bookended by the frost fairs of 1789 and 1814. There’s a whiff of the fairy tale in the setup: when we meet Neva, she’s a little girl whose parents operate one of the fair’s attractions, a chess-playing bear. She knows, like no one else seems to, that the ice is shifting and it’s not safe to stay by the Thames. When the predicted tragedy comes, she’s left an orphan and adopted by Victor Friezland, a clockmaker who shares her Russian heritage. He lives in a wonderfully peculiar house made out of ship parts and, between him, Neva, the housekeeper Elise, and other servants, friends and neighbours, they form a delightful makeshift family.
Neva predicts the weather faultlessly, even years ahead. It’s somewhere between synaesthetic and mystical, this ability to hear the ice speaking and see what the clouds hold. While others in their London circle engage in early meteorological prediction, her talent is different. Victor decides to harness it as an attraction, developing “The Weather Woman” as first an automaton and then a magic lantern show, both with Neva behind the scenes giving unerring forecasts. At the same time, Neva brings her childhood imaginary friend to life, dressing in men’s clothing and appearing as Victor’s business partner, Eugene Jonas, in public.
These various disguises are presented as the only way that a woman could be taken seriously in the early 19th century. Gardner is careful to note that Neva does not believe she is, or seek to become, a man; “She thinks she’s been born into the wrong time, not necessarily the wrong sex. As for her mind, that belongs to a different world altogether.” (Whereas there is a trans character and a couple of queer ones; it would also have been interesting for Gardner to take further the male lead’s attraction to Eugene Jonas.) From her early teens on, she’s declared that she doesn’t intend to marry or have children, but in what I suspect is a trope of romance fiction, she changes her tune when she meets the right man. This was slightly disappointing, yet just one of several satisfying matches made over the course of this rollicking story.
London charms here despite its Dickensian (avant la lettre) grime – mudlarks and body snatchers, gambling and trickery, gloomy pubs and shipwrecks, weaselly lawyers and high-society soirees. The plot moves quickly and holds a lot of surprises and diverting secondary characters. While the novel could have done with some trimming – something I’d probably say about the majority of 450-pagers – I remained hooked and found it fun and racy. You’ll want to stick around for a terrific late set-piece on the ice. Gardner had a career in theatre costume design before writing children’s books. I’ll also try her teen novel, I, Coriander. (Public library)
[Two potential anachronisms: “Hold your horses” (p. 202) and calling someone “a card” (p. 209) – both slang uses that more likely date from the 1830s or 1840s.]
The Frost Fairs by John McCullough (2010)
I knew McCullough’s name from his superb 2019 collection Reckless Paper Birds, which was shortlisted for a Costa Prize. This was his debut collection, for which he won a Polari Prize. Appropriately, one poem, “Georgie, Belladonna, Sid,” is crammed full of “Polari words” – “the English homosexual and theatrical slang prevalent in the early to mid 20th century.” The book leans heavily on historical scenes and seaside scenery. “The Other Side of Winter” is the source of the title and the cover image:
Overnight the Thames begins to move again.
The ice beneath the frost fair cracks. Tents,
merry-go-rounds and bookstalls glide about
On islands given up for lost. They race,
switch places, touch—the printing press nuzzling
the swings—then part, slip quietly under.
I also liked the wordplay of “The Dictionary Man,” the alliteration and English summer setting of “Miss Fothergill Observes a Snail,” and the sibilance versus jarringly violent imagery of “Severance.” However, it was hard to detect links that would create overall cohesion in the book. (Purchased directly from Salt Publishing)
Three on a Theme: Raven Books for Halloween
It’s been a while since I’ve done a Three on a Theme post (over eight months, in fact). I thought it would be fun to round up a few nonfiction books about ravens that I’ve read over the last year or so – I just finished the Skaife last night.
I tend to associate ravens with Halloween because of Edgar Allan Poe’s eerie poem “The Raven.” In eighth grade English class we had the challenge of memorizing as much of this multi-stanza poem as possible. A friend and I took this very seriously and recited the whole thing, I think (or at least enough to be obnoxious), in front of the class. I can still conjure up big chunks of it in my memory: “Once upon a midnight dreary / while I pondered, weak and weary / over many a quaint and curious volume of forgotten lore…” The rhymes and alliteration make it a real earworm.
The Book of the Raven: Corvids in Art and Legend by Angus Hyland and Caroline Roberts (2021)
I loved the art, which ranges from the well-known (Van Gogh) to the recent and obscure and includes etchings, paintings and photographs, and wood carvings. The text was less illuminating, relying on some very familiar points of reference like Aesop’s fables, Norse myths, Poe’s “The Raven,” and so on. It’s slightly confusing that the authors decided to lump all corvids together as it suits them, so they include legends and poems associated with crows and magpies as well as ravens.
Most pieces are only one page and have an image facing, as well as at least two pages of wordless spreads between them. There are also shorter quotations embedded in some of the illustrations. Gothic font abounds and there is an overall black, white and red colour scheme. I was glad to be reminded that Charles Dickens’s pet raven, Grip III, was stuffed and is now in display in the Free Library of Philadelphia – that will be a sight to seek out on my next trip there. I also enjoyed learning about Jimmy, a Hollywood raven who appeared in over 1,000 films between 1938 and 1954, including It’s a Wonderful Life. This was a surprise Christmas gift, and a fun enough coffee table read.
A Shadow Above: The Fall and Rise of the Raven by Joe Shute (2018)
Ravens are freighted with such symbolism that people attribute special significance to their presence or absence. In parts of Britain, they were persecuted to the point of extirpation, but in recent years they have been finding new strongholds everywhere from sea cliffs and abandoned quarries to the New Forest and city centres. Travelling around the country, Shute learns how mythology reflects humans’ historical relationships with the birds and meets with those who hate and shoot ravens (farmers whose lambs and piglets they gang up to kill) as well as those who rehabilitate them or live with them as companions. It’s a balanced and well informed book, if a little by-the-numbers in its approach.
A terrific final paragraph: “Watching the birds dive under the fizzing pylon wires, I also realise just how much we need them close by. To provide us with a glimpse of wildness in a world hell-bent on civilising its furthest reaches, while at the same time inching closer towards the abyss. The raven will always continue to represent our own projections. This modern omen remains as yet ill-defined; our shared futures unresolved.” (Public library)
The Ravenmaster by Christopher Skaife (2018)
A newspaper/magazine feature I enjoy is when a journalist interviews someone with a really random job – you know, like a cat food taste tester or the guy who cleans the Tube tunnels in London or empties the loos after Glastonbury Festival. This memoir was moderately interesting in the same sort of way.
How does one get to be raven keeper at the Tower of London? In Skaife’s case, via the military. He was an indifferent student so joined the Army young and served for 24 years, including as a Drum Major and in Northern Ireland, before becoming a Yeoman Warder. He’s the sixth Ravenmaster (a new title after 1946), in post since 2011. He was always interested in history and as a mature student took a degree in archaeology, so he’s well suited to introducing the Tower to visitors. I appreciated his description of the challenge of making the experience fresh each time even though for him it’s become daily drudgery: “Doing a really great tour is like being a jazz musician: a moment’s improvisation based on a lifetime’s experience.”
Seeing to seven resident ravens’ needs is also repetitive and has to be done in the same way, on time, every day if he doesn’t want revolt – when he once tried to put them to bed in their cages in a different order, Merlina (who also plays dead and engages in hide-and-seek) led him a merry dance and he ended up falling into the moat. He’s sometimes learned the hard way, as when a raven died when it hid in scaffolding and then plunged to the ground – he realized he’d clipped its wings too severely. Other birds have been lost to foxes, so he’s gotten in the habit of feeding foxes in one spot so they’ll stay away from the raven enclosure.
It’s a good-natured, anecdotal book, but didn’t teach me anything I didn’t already know about ravens from various other books; it reports pretty entry-level information on bird intelligence, communication, and representations in popular culture. I most liked hearing about the ravens’ individual personalities and the little mishaps and surprises he’s experienced in dealing with them. But many chapters feel thrown together in an arbitrary order, and Skaife’s writing about his life before the Tower doesn’t add anything. So while I envy him living in such a history-saturated place and would probably like to tour the Tower one day, the book wasn’t the intriguing insider’s account I was looking for. A ghostwriter or extra helping editorial hand wouldn’t have gone amiss, honestly. (A gift from my wish list a couple of Christmases ago)
If you read just one … A Shadow Above by Joe Shute was the stand-out for me.
My next raven-themed read will be: Ravens in Winter by Bernd Heinrich.
Recent Writing for Bookmarks, Foreword and Shelf Awareness
I’ve been writing for U.S. print magazine Bookmarks for an astonishing 9.5 years now, and have the title of associate editor. The upcoming November/December issue is their first to be released in digital format as well, and as a promo it’s available to read for free here. My contributions to the issue are an article on fiction and nonfiction about women in STEM (starts on p. 23), and various of the anonymous synopses/critical summaries in the New Books Guide. Each issue has one or more author profiles, one or more thematic features, reader recommendations, a book group bio, and news on prizes and upcoming releases.
Here are excerpts from a few recent or upcoming reviews of October releases that I’ve contributed elsewhere. I link to the full text where available.
Without Saints: Essays by Christopher Locke: Fifteen flash essays present shards of a life story. Growing up in New Hampshire, Locke encountered abusive schoolteachers and Pentecostal church elders who attributed his stuttering to demon possession and performed an exorcism. By age 16, small acts of rebellion had ceded to self-harm, and his addictions persisted into adulthood. Later, teaching poetry to prisoners, he realized that he might have been in their situation had he been caught with drugs. The complexity of the essays advances alongside the chronology. Weakness of body and will is a recurrent element.
Demon Copperhead by Barbara Kingsolver: Her bighearted ninth novel follows the contours of Charles Dickens’s David Copperfield, transplanting the plot to 1990s southwest Virginia to uncover the perils of opiate addiction. Ten-year-old Damon Fields lives in a trailer home with his addict mother, who is employed at Walmart, and his new stepfather, Stoner, a mean trucker. Tragedy strikes and Damon moves between several foster homes before running away. “A kid is a terrible thing to be, in charge of nothing,” he remarks, looking back. His irrepressible, sassy voice is reminiscent of Holden Caulfield’s in this Appalachian cousin to Shuggie Bain.
Bad Vibes Only by Nora McInerny: McInerny’s fifth book is a witty, insightful set of essays about self-worth and parenting in the social media era. Those familiar with the author’s previous autobiographical works will remember that within a few weeks in 2014, her father and first husband, Aaron, both died of cancer. After several years as a single mother, she married Matthew and they blended their families. Even when dealing with serious topics like anxiety and narrow escapes, McInerny has a light touch. She is endearingly honest, aware of her privilege and open about her contradictions. The then-and-now focus compares pre-Internet childhood with the challenges of raising kids with a constant online presence.
Which Side Are You On by Ryan Lee Wong: In Wong’s dynamite debut novel – set in Los Angeles, with its history of race riots – an Asian American college student committed to social justice rethinks how best to live out his ideals in the real world. Wong probes the generational gap between Reed and his parents through snappy dialogue and enjoyable scenes that constitute an incidental tour of multi-ethnic L.A. Full of vibrant characters, this punchy story offers no simple answers to ongoing racial conflicts. The portrait of a sanctimonious young man who wakes up to the reality of generational trauma and well-meaning failure is spot-on. Truly, a book for the contemporary moment.
It’s always a thrill to see my words quoted as authoritative: excerpts from my Bad Vibes Only review appear on Bookshop.org and on Lit Hub’s Bookmarks page (see below), and there’s an unattributed quote from my Which Side Are You On review on the book’s Amazon page.
Do any of these books interest you?
Blurb Your Enthusiasm by Louise Willder
At last, I’m caught up reviewing September releases! It’s one of the busier months in the publishing calendar, so I shouldn’t be surprised that I had such a bounteous crop. Now I can pay more attention to R.I.P. selections, catching up on others’ blog posts, and getting ahead before the start of Novellas in November.
Blurb Your Enthusiasm is a delightful bibliophile’s miscellany with a great title – not just for the play on words, but also for how it encapsulates what this is about: ways of pithily spreading excitement about books. The first part of the subtitle, “An A–Z of Literary Persuasion,” is puzzling in that the structure is scattershot rather than strictly alphabetical, but the second is perfect: from the title and cover to the contents, Louise Willder is interested in what convinces people to acquire and read a book.
Over the last 25 years, she has written the jacket copy for thousands of Penguin releases, so she has it down to a science as well as an art. Book reviewing seems to me to be an adjacent skill. I know from nine years of freelance writing about books, in which I’ve had to produce reviews ranging from 100 to 2,000 words, that the shortest and most formulaic reviews can be the most difficult to compose, but are also excellent writing discipline. As Willder puts it, “Writing short, for whatever reason you do it, forces rigour, and it reminds you that words are a precious and powerful resource. Form both limits and liberates.”
How to do justice to the complexity of several hundred pages of an author’s hard work in just 150 words or so? How to suggest the tone and contents without a) resorting to clichés (“luminous” and “unflinching” are a couple of my bugbears), b) giving too much away, c) overstating the case, or misleading anyone about the merits of a Marmite book, or d) committing the cardinal sin of boring readers before they’ve even opened to the first page?
it can be easy to forget that a potential reader hasn’t read it: they don’t know anything about it. You can’t sell them the experience of the book – you have to sell them the expectation of reading it; the idea of it. And that’s when a copywriter can be an author’s best friend.
[An aside: Literary critics and blog reviewers generally see themselves as having different roles: making objective (pah!) pronouncements about literary value versus cheerleading for the books they love and want others to discover (a sort of unpaid partnership with publicists). I’m in the odd position of being both, and feel I engage in the two activities pretty much equally, perhaps leaning more towards the former. There’s some crossover, of course, with bloggers such as myself happy to publish the occasional more critical review. But we aren’t generally, as Willder is, in the business of selling books, so unless we’re pals with the author on Twitter we don’t tend to have a vested interest in seeing the book do well.]
Each reader will home in on certain topics here: the art of the first line, Dickens’s serialization and self-promotion, Orwell’s guidelines for good writing, the differences between British and American jacket copy, the use of punctuation, and so much more. I particularly loved the mock and bad blurbs she cites (we’ve both commented on the ludicrous one for The Country Girls!), including one an AI created for this book, and her rundown of the conventions of blurb-writing for various genres, everything from children’s books to science fiction. She frequently breaks her own rules (e.g., she’s anti-adjective and -ellipses, yet I found five of the one and two of the other in the Crace blurb; see below) and is very funny to boot.
Here’s some of the bookish and word-nerd trivia that captivated me:
- J. D. Salinger didn’t allow blurbs on his books.
- The American usage of the word “blurb” is for advance review quotes that fellow authors contribute for inclusion on the cover. I didn’t realize I used the word interchangeably for either meaning; in the UK, one might call such a quote a “puff.”
- Marshall McLuhan invented the “page 69 test” – to decide whether you want to buy/read a book, turn to that page instead of (or maybe in addition to) looking at the first paragraph.
- A New York publishing CEO once joked that Lincoln’s Doctor’s Dog would be an optimal title to appeal to readers (respected president + health + animal), but there are actually now six books bearing some variation on that title and all were presumably flops!
- “Wackaging” is the word for quirky marketing that has products talk to us (Innocent Smoothies, established in 1999, is thought to have started the trend).
- I pulled out my copy of Jim Crace’s Quarantine to see how Willder managed to write a blurb about a novel about Jesus without mentioning Jesus (“a Galilean who they say has the power to work miracles”)!
Some more favourite lines:
“There’s always something to love and learn from in a book, especially if it lasts as long as these books [children’s classics] have, and part of the job of people like me is to pick out what makes it special and pass it on.”
“always ask yourself, what’s really going on here? Why should anyone care? And how do we make them care?”
For all of us who value books, whether we write about them or not, those seem like important points to remember. We read to learn, but also to feel, and when we share our love of books with other people we can do so on the basis of how they have engaged our brains and hearts. This was thoroughly entertaining and has prompted me to pay that bit more attention to the few paragraphs on the inside of a book jacket. (See also Susan’s review.)
With thanks to Oneworld for the free copy for review.
March Releases by Rebecca Brown, Luis Carrasco, A.J. Lees et al.
As busy as I am with house stuff, I’m endeavouring to keep up with the new releases publishers have been kind enough to send. Today I have a collection of essays on the seasons and mental health, a novella inhabiting a homeless girl’s situation, and a memoir about how skills of observation have been invaluable to a neurologist’s career. (I also mention a few other March releases that I have written about elsewhere or will be reviewing soon.)
You Tell the Stories You Need to Believe: On the four seasons, time and love, death and growing up by Rebecca Brown
Brown has shown up twice now in my November novella reading (Excerpts from a Family Medical Dictionary in 2016 and the excellent The Gifts of the Body in 2018). I was delighted to learn from a recent Shelf Awareness newsletter that she had a new book, and its Didion-esque title intrigued me. These four essays, which were originally commissioned for The Stranger, Seattle’s alternative weekly, and appeared in print between 2014 and 2016, move methodically through the four seasons and through the weather of the heart, which doesn’t always follow nature’s cues. Depression can linger and mock by contrast the external signs of growth and happiness; it’s no wonder that spring is dubbed the “suicide season.”
The relaxed collages of experience and research blend stories from childhood and later life with references to etymology, literature, music, mythology and poetry. Spring brings to mind the Persephone legend and Vivaldi’s compositions. Summer makes her think of riding bikes on dusty roads and a pregnant dog that turned up just before a storm. Autumn has always been for falling in or out of love. Winter is hard to trudge through, but offers compensatory blessings: “You stand inside the house of your friends and feel and see and everyone is in love and alive and you get to be here, grateful, too, however long, this time, the winter lasts.”
A danger with seasonal books is that, with nostalgia tingeing everything, you end up with twee, obvious reflections. Here, the presence of grief and mental health struggles creates a balanced tone, and while the book as a whole feels a little evanescent, it’s a lovely read.
Another favorite passage:
Maybe like how in the winter it’s hard to imagine spring, I forgot there was anything else besides despair. I needed—I need—to remember the seasons change. I need to remember the dark abates, that light and life return. This is a story I need to believe.
With thanks to Chatwin Books for the e-copy for review.
Ghosts of Spring by Luis Carrasco
Carrasco’s second novella (after 2018’s El Hacho) takes an intimate journey with a young woman who sleeps rough on the streets of a city in the west of England (Cheltenham? Gloucester?). Elemental concerns guide her existence: where can she shelter for the night? Where can she store her meagre belongings during the day? Does she have enough coins to buy a cup of tea from a café, and how long can she stretch out one drink so she can stay in the warm? The creeping advance of the winter (and the holiday season) sets up an updated Christmas Carol type of scenario where the have-nots are mostly invisible to the haves but rely on their charity:
Hidden in plain sight amongst them, in nooks and doorways and sitting with heads hanging against cold stone walls are huddled shapes, blanketed and inert, with faces of indifferent boredom. Too cold to fish for cash and pity[,] they sit with their faces wrapped in dirty scarves and stolen hats, working the empty corners of tobacco pouches and sucking cold coffee from yesterday’s cups. Ghosts of flesh, they are here and everywhere and nobody sees a thing.
With no speech marks, the narrative flows easily between dialogue and a third-person limited point of view. The protagonist, generally just called “the girl,” is friends with a group of prostitutes and tries out a night in a homeless hostel and sleeping in an allotment shed when she takes a bus to the suburbs. Carrasco is attentive to the everyday challenges she faces, such as while menstruating. We get hints of the family issues that drove her away, but also follow her into a new opportunity.
The book has an eye to her promising future but also bears in mind the worst that can happen to those who don’t escape poverty and abuse. At times underpowered, at others overwritten (as I found for my only other époque press read, What Willow Says), this succeeds as a compassionate portrait of extreme circumstances, something I always appreciate in fiction, and would make a good pairing with another story of homelessness, Kerstin Hensel’s Dance by the Canal from Peirene Press.
With thanks to époque press for the proof copy for review.
Brainspotting: Adventures in Neurology by A.J. Lees
Dr Andrew Lees is a professor of neurology at the National Hospital in London and a world-renowned Parkinson’s disease researcher. The essays in this short autobiographical volume emphasize the importance of listening and noticing. The opening piece, in fact, is about birdwatching, a boyhood hobby that first helped him develop this observational ability. In further chapters he looks back to his medical education and early practice in London’s East End and in Paris in the 1960s and 1970s. He profiles the hospitals he has known over the last five decades, and the neurologists who paved the way for the modern science, such as Jean-Martin Charcot and François Lhermitte.
The professors whose lessons have most stuck with him are those who insisted on weaving patient histories and symptoms into a story. Lees likens the neurologist’s work to Sherlock Holmes’s deductions – even the smallest signs can mean so much. Indeed, Arthur Conan Doyle, himself a doctor, is known to have modelled Holmes on Joseph Bell, a Scottish surgeon. I particularly liked the essay “The Lost Soul of Neurology,” about science versus spirituality. As a whole, this didn’t particularly stand out for me compared to many of my other medical reads, but I’d still liken it to the works of Gavin Francis and Henry Marsh.
With thanks to Notting Hill Editions for the free copy for review.
Plus a few more March releases I’ve read recently:
Reviewed for BookBrowse:
Booth by Karen Joy Fowler
In an epic fictional sweep from 1822 to nearly the close of the century, Fowler surveys the Booth family’s triumphs and tragedies. Short asides chronicle Lincoln’s rise in parallel. The foreshadowing is sometimes heavy-handed, and the extended timeline means there is also some skating over of long periods. Booth is low on scenes and dialogue, with Fowler conveying a lot of information through exposition. Luckily, the present-tense narration goes a long way toward making this less of a dull group biography and more of an unfolding story. I also appreciated that the Booth sisters are given major roles as point-of-view characters. The issues considered, like racial equality, political divisions and mistrust of the government, are just as important in our own day. Recommended to fans of March and Hamnet. (I also wrote a related article on the Booth family actors and Shakespeare in performance in the 19th-century USA.)
With thanks to Serpent’s Tail for the proof copy for review.
To review for BookBrowse soon: Groundskeeping by Lee Cole, one of my favourite 2022 releases so far; just the sort of incisive contemporary American novel I love. Big questions of class, family, fate and politics are bound up in a campus-set love story between a drifting manual labourer with literary ambitions and a visiting writer. (Faber)
And coming up tomorrow in my Reading Ireland Month roundup: Vinegar Hill, Colm Tóibín’s terrific debut collection of poems about current events, religion and travels. (Carcanet Press)
Do any of these books appeal to you?
Review Catch-Up: Brackenbury, McLaren, Wellcome Collection
As usual, I have a big backlog of 2021–22 releases I’m working my way through. I’ll get there eventually! Today I’m reporting on a poetry collection about English ancestry and wildlife, a vision of post-doubt Christian faith, and a set of essays on connection to nature, specifically flora. (I also take a brief look at some autofiction that didn’t work for me.)
Thorpeness by Alison Brackenbury (2022)
I’m familiar with Brackenbury from her appearance at New Networks for Nature in 2016 and her latest selected poems volume, Gallop. This, her tenth stand-alone collection, features abundant imagery of animals and the seasons, as in “Cucu” and “Postcard,” which marks the return of swifts. Alliteration is prominent, but there is also a handful of rhymes, like in “Fern.” Family history and the perhaps-idyllic rural underpin the verse set in Lincolnshire and Gloucestershire as Brackenbury searches for ancestral graves and delivers elegies.
I especially loved “Aunt Margaret’s Pudding,” a multipart poem about her grandmother’s life as a professional cook and then a mother of four, and “My Grandmother Waits for Christmas,” about a simple link between multiple generations’ Christmases: a sugar mouse. Caring for horses is another recurring theme; a 31-year-old blind pony receives a fond farewell.
There are also playful meetings between historical figures (“Purple Haze,” a dialogue between George Frideric Handel and Jimi Hendrix, who saw the composer’s ghost in their shared London home) and between past and contemporary, like “Thomas Hardy sends an email” (it opens “I need slide no confessions under doors”). “Charles Dickens at Home” was another favourite of mine. The title is the never-to-be-reached destination in the final poem, “Shingle.” A number of these poems were first broadcast on BBC Radio.
With thanks to Carcanet Press for the e-copy for review.
Faith after Doubt: Why Your Beliefs Stopped Working and What to Do about It by Brian McLaren (2021)
I’ve explained before how McLaren’s books were pivotal to my spiritual journey, even before I attended the church he founded in Maryland. (I’ve also reviewed his previous book, God Unbound). His progressive, environmentalist theology is perfect for continuing searchers like me. At one of last year’s online Church Times Festival events, I saw him introduce the schema that underpins this book. He proposes that the spiritual life (not just Christian) has four stages that may overlap or repeat: simplicity, complexity, perplexity and harmony. The first stage is for new zealots who draw us–them divisions and are most concerned with orthodoxy. In the second, practitioners are more concerned with practicalities: what works, what makes life better. Perplexity is provoked by cynicism about injustice and hypocrisy, while harmony moves beyond dualism and into connection with other people and with nature.
McLaren suggest that honest doubting, far from being a problem, might present an opportunity for changing in the right direction, getting us closer to the “revolutionary love” at the heart of the gospel. He shares stories from his own life, in and out of ministry, and from readers who have contacted him remotely or come up to him after events, caught in dilemmas about what they believe and whether they want to raise their children into religion. Though he’s fully aware of the environmental crisis and doesn’t offer false hope that we as a species will survive it, he isn’t ready to give up on religion; he believes that a faith seasoned by doubt and matured into an understanding of the harmony of all things can be part of a solution.
It’s possible some would find McLaren’s ideas formulaic and his prose repetitive. His point of view always draws me in and gives me much to think about. I’ve been stuck in perplexity for, ooh, 20 years? I frequently ask myself why I persist in going to church when it’s so boring and so often feels like a social club for stick-in-the-mud white people instead of a force for change. But books like this and Robin Wall Kimmerer’s Braiding Sweetgrass, my current soul food, encourage me to keep pursuing spiritual connection as a worthwhile path. I’ll be seeking out his forthcoming book (due out in May), Do I Stay Christian?, too.
Some favourite lines:
“only doubt can save the world. Only doubt will open a doorway out of hostile orthodoxies – whether religious, cultural, economic or political. Only through the difficult passage of doubt can we emerge into a new stage of faith and a new regenerative way of life. Everything depends on making this passage.”
“Among all the other things doubt is – loss, loneliness, crisis, doorway, descent, dissent [these are each the subject of individual chapters early on in the book] – it is also this: a crossroads. At the crossroads of doubt, we either become better or bitter. We either break down or break through. We become cynics or sages, hollow or holy. We choose love or despair.”
“Blessed are the wonderers, for they shall find what is wonderful. … Blessed are the doubters, for they shall see through false gods. Blessed are the lovers, for they shall see God everywhere.”
With thanks to Hodder & Stoughton for the free copy for review.
This Book Is a Plant: How to Grow, Learn and Radically Engage with the Natural World (2022)
This collection of new essays and excerpts from previously published volumes accompanies the upcoming Wellcome Collection exhibition Rooted Beings (a collaboration with La Casa Encendida, Madrid, it’s curated by Bárbara Rodríguez Muñoz and Emily Sargent and will run from 24 March to 29 August). The overarching theme is our connection with plants and fungi, and the ways in which they communicate. Some of the authors are known for their nature writing – there’s an excerpt from Merlin Sheldrake’s Entangled Life, Jessica J. Lee (author of Turning and Two Trees Make a Forest) contributes an essay on studying mosses, and a short section from Kimmerer’s Braiding Sweetgrass closes the book – while others are better known in other fields, like Susie Orbach and Abi Palmer (author of Sanatorium).
I especially enjoyed novelist Rowan Hisayo Buchanan’s “Wilder Flowers,” which is about landscape painting, balcony gardening in pots, and what’s pretty versus what’s actually good for nature. (Wildflowers aren’t the panacea we are sometimes sold.) I was also interested to learn about quinine, which comes from the fever tree, in Kim Walker and Nataly Allasi Canales’ “Bitter Barks.” Sheila Watt-Cloutier’s essay on the Western influence on Inuit communities in northern Canada, reprinted from Granta, is one of the best individual pieces – forceful and with a unique voice, it advocates reframing the climate change debate in terms of human rights as opposed to the economy – but has nothing to do with plants specifically. There are also a couple of pieces that go strangely mystical, such as one on plant metaphors in the Kama Sutra. So, a mixed bag that jumbles science, paganism and postcolonial thought, but if you haven’t already encountered the Kimmerer and Sheldrake (or, e.g., Rooted by Lyanda Lynn Haupt and Losing Eden by Lucy Jones) you might find this a good primer.
With thanks to Profile Books / Wellcome Collection for the free copy for review.
And one that really didn’t work for me; my apologies to the author and publisher.
I Love You but I’ve Chosen Darkness by Claire Vaye Watkins (2021)
What a letdown after Gold Fame Citrus, one of my favourite novels of 2015. I’d also read Watkins’s debut short story collection, Battleborn, which won the Dylan Thomas Prize. Despite the amazing title and promising setup – autofiction that reflects on postpartum depression and her Mojave Desert upbringing as a daughter of one of the Manson Family cult members – this is indulgent, misguided, and largely unreadable.
A writer named Claire Vaye Watkins flies to Nevada to give a lecture and leaves her husband and baby daughter behind – for good? To commemorate her mother Martha, who died of an opiate overdose, she reprints Martha’s 1970s letters, which are unspeakably boring. I feel like Watkins wanted to write a memoir but didn’t give herself permission to choose nonfiction, so tried to turn her character Claire’s bad behaviour into a feminist odyssey of sexual freedom and ended up writing such atrocious lines as the below:
“I mostly boinked millennial preparers of beverages and schlepped to book festivals to hook up with whatever adequate rando lurked at the end of my signing line. This was what our open marriage looked like”
“‘Psychedelics tend to find me when I need them,’ she said, sending a rush of my blood to my vulva.”
Her vagina dentata (a myth, or a real condition?!) becomes a bizarre symbol of female power and rage. I could only bear to skim this.
Some lines I liked:
Listen: I am a messenger from the future. I am you in ten years. Pay attention! Don’t fetishize marriage and babies. Don’t succumb to the axial tilt of monogamy! I don’t pretend to know the details of your…situation, but I guarantee you, you’re as free as you’ll ever be. Have sex with anyone you want. Enjoy the fact that it might happen any minute. You could have sex with a man, a woman, both—tonight!
I went from being raised by a pack of coyotes to a fellowship at Princeton where I sat next to John McPhee at a dinner and we talked about rocks and he wasn’t at all afraid of me.
With thanks to riverrun for the proof copy for review.
Would you be interested in reading one or more of these?
Seasons’ Greetings: Winter (Part I) & Christmas Reading
My first few wintry reads for the season included a modern children’s classic, a wonderful poetry collection, and a so-so Advent-set novella. For my pre-Christmas reads, I have a couple of story-length classics and two recent novellas.
Winter Story by Jill Barklem (1980)
My favourite of the series so far (just Spring still to go) for how nostalgic it is for winter traditions.
“Tobogganing tomorrow,” said Wilfred.
“Snow pancakes for tea,” said Clover.
“We’ll make a snow mouse,” said Catkin.
The mice host a Snow Ball at the Ice Hall, with outfits and dances out of Austen and victuals out of Dickens. As always, the tree-trunk interiors are lit up like doll’s house tableaux with cosy rooms and well-stocked larders. Nothing much happens in this one, but that was fine with me: no need for a conflict and its resolution when you’ve got such a lovely, lucky life. (Public library)
The Winter Orchards by Nina Bogin (2001)
After enjoying Thousandfold in 2019, I was keen to catch up on Bogin’s previous poetry. Themes I’d noted in her latest work, nature and family, are key here, too. There is an overall wistful tone to the book, as in the passages below:
I didn’t like lungwort at first,
its spotted leaves, its furred
flowers, and I didn’t like its name.
But now I want to gather lungwort again,
now that I can’t return
to the brook meadow I picked it in (from “Lungwort”)
I’ll love the fallow and forgotten fields
because I have no choice, and woods
whose paths have been erased. (from “Landscape”)
The losses responded to are sometimes personal – saying Kaddish for her father – and sometimes more broadly representative, as when she writes about a dead bird found on the road or conflicts like the Gulf War and former Yugoslavia. Alongside beautiful nature poetry featuring birds and plants are vignettes from travels in France, Sweden, and upstate New York. (New purchase)
An Advent Calendar by Shena Mackay (1978)
I smugly started this on the first day of Advent, and initially enjoyed Mackay’s macabre habit of taking elements of the Nativity scene or a traditional Christmas and giving them a seedy North London twist. So we open on a butcher’s shop and a young man wearing “bloody swabbing cloths” rather than swaddling clothes, having lost a finger to the meat mincer (and later we see “a misty Christmas postman with his billowy sack come out of the abattoir’s gates”). In this way, John Wood becomes an unwitting cannibal after taking a parcel home from the butcher’s that day, and can’t forget about it as he moves his temporarily homeless family into his old uncle’s house and continues halfheartedly in his job as a cleaner. His wife has an affair; so does a teenage girl at the school where his sister works. No one is happy and everything is sordid. “Scouring powder snowed” and the animal at this perverse manger scene is the uncle’s neglected goat. This novella is soon read, but soon forgotten. (Secondhand purchase)
And so to Christmas…
“The Christmas Dinner” by Washington Irving (1820)
An evocative portrait of an English Christmas meal, hosted by a squire in the great hall of his manor, originally published in Irving’s The Sketch Book of Geoffrey Crayon, Gent. A boar’s head, a mummers’ play, the Lord of Misrule: you couldn’t get much more traditional. “Master Simon covered himself with glory by the stateliness with which, as Ancient Christmas, he walked a minuet with the peerless, though giggling, Dame Mince Pie.” Irving’s narrator knows this little tale isn’t profound or intellectually satisfying, but hopes it will raise a smile. He also has a sense that he is recording something that might soon pass away:
I felt also an interest in the scene, from the consideration that these fleeting customs were posting fast into oblivion. … There was a quaintness, too, mingled with all this revelry, that gave it a peculiar zest; it was suited to the time and place; and as the old Manor House almost reeled with mirth and wassail, it seemed echoing back the joviality of long-departed years.
A pleasant one-sitting read; so much better than a Christmas card!
This Renard Press pamphlet is in support of Three Peas, a charity providing food and medical care to refugees in Europe. Thanks to Annabel for my gifted copy!
Small Things Like These by Claire Keegan (2021)
Always, Christmas brought out the best and the worst in people.
This was our second most popular read during last month’s Novellas in November challenge. I’d read a lot about it in fellow bloggers’ posts and newspaper reviews so knew to expect a meticulously chiselled and heartwarming story about a coal merchant in 1980s Ireland who comes to value his quiet family life all the more when he sees how difficult existence is for the teen mothers sent to work in the local convent’s laundry service. Born out of wedlock himself nearly 40 years ago, he is grateful that his mother received kindness and wishes he could do more to help the desperate girls he meets when he makes deliveries to the convent.
I found this a fairly predictable narrative, and the nuns are cartoonishly villainous. So I wasn’t as enthusiastic as many others have been, but still enjoyed having this as one of my reads on my travel day to the USA. I was familiar with the Magdalene Laundries from the movie The Magdalene Sisters and found this a touching reminder to be grateful for what you have while helping those less fortunate. A perfect message for Christmas. (NetGalley)
Miss Marley by Vanessa Lafaye (2018)
Lafaye was a local-ish author to me, an American expat living in Marlborough. When she died of breast cancer in 2018, she left this A Christmas Carol prequel unfinished, and fellow historical novelist Rebecca Mascull completed it for her. Clara and Jacob Marley come from money but end up on the streets, stealing from the rich to get by. Jacob sets himself up as a moneylender to the poor and then, after serving an apprenticeship alongside Ebenezer Scrooge, goes into business with him. They are a bad influence on each other, reinforcing each other’s greed and hard hearts. Jacob is determined never to be poor again. Because he’s forgotten what it’s like, he has no compassion when Clara falls in love with a luckless Scottish tea merchant. Like Scrooge, Jacob is offered one final chance to mend his ways. This was easy and pleasant reading, but I did wonder if there was a point to reading this when one could just reread Dickens’s original. (Secondhand purchase)
A Child’s Christmas in Wales by Dylan Thomas (1952)
(Illus. Edward Ardizzone, 1978)
It’s a wonder I’d never managed to read this short story before. I was prepared for something slightly twee; instead, it is sprightly and imaginative, full of unexpected images and wordplay. In the Wales of his childhood, there were wolves and bears and hippos. Young boys could get up to all sorts of mischief, but knew that a warm house packed with relatives and a cosy bed awaited at the end of a momentous day. Reflective and magical in equal measure; a lovely wee volume that I am sure to reread year after year. (Little Free Library)
A favourite passage:
Our snow was not only shaken from whitewash buckets down the sky, it came shawling out of the ground and swam and drifted out of the arms and hands and bodies of the trees; snow grew overnight on the roofs of the houses like a pure and grandfather moss, minutely white-ivied the walls and settled on the postman, opening the gate, like a dumb, numb thunderstorm of white, torn Christmas cards.
If there’s been one adjective linking most of these books, it’s been “nostalgic.” There’s something about winter in general, and the holiday season in particular, that lends itself to thinking back to the past and trying to preserve traditions, isn’t there?
What’s on your holiday reading pile this year?
Snow and Winter Reads, Part II
Since I wrote about my first batch of wintry reads in early February, it’s turned much more spring-like here in southern England, with blue skies and the daffodils blooming. Still, temperatures continue chilly and some nights I’ve had trouble falling asleep because of the wind tearing down the street and flapping the bin lids. With meteorological spring due to start tomorrow, I’m bidding farewell to winter with a few more snow-covered reads: a children’s classic, a modern classic from the 1990s, and an implausible but enjoyably rollicking thriller.
The Wolves of Willoughby Chase by Joan Aiken (1962)
Aiken’s books were not part of my childhood, but I was vaguely aware of this first book in a long series when I plucked it from a neighbor’s giveaway pile. The snowy scene on the cover and described in the first two paragraphs drew me in and the story, a Victorian-set fantasy with notes of Oliver Twist and Jane Eyre, soon did, too. In this alternative version of the 1830s, Britain already had an extensive railway network and wolves regularly used the Channel Tunnel (which did not actually open until 1994) to escape the Continent’s brutal winters for somewhat milder climes.
One winter, the orphaned Sylvia travels by train from London to the north of England to live with her cousin Bonnie and her parents, Sir Willoughby and Lady Green. But dodgy things are afoot at Willoughby Chase: Miss Slighcarp, a distant cousin, has been hired as the girls’ governess but, just as soon as Bonnie’s parents leave on a long trip, she sets about taking over the house. Bonnie and Sylvia, exiled to a workhouse, rely on a secret network of friends and servants to keep them safe and get them home via an intrepid journey.
Miss Slighcarp is just one of the novel’s Dickensian villains – balanced out by some equally Dickensian urchins and helpful adults, all of them with hearts of gold. There’s something perversely cozy about the plight of an orphan in children’s books: the characters call to the lonely child in all of us, and we rejoice to see how ingenuity and luck come together to defeat wickedness. There are charming passages here in which familiar smells and favorite foods offer comfort. I especially loved their friend Simon’s cave and his little rituals. This would make a perfect stepping stone from Roald Dahl to one of the actual Victorian classics.
My only quibble with the book overall would be that the wolves seem unnecessary: they only truly appear once, for a climactic scene during the train ride, and the rest of the time are just a background menace. From fairy tales onwards, wolves have gotten a bad rap, and we don’t need to perpetuate myths about how dangerous they are to humans.
Snow Falling on Cedars by David Guterson (1994)
My first 5-star read of the year! It certainly took a while, but I’m now on a roll with a bunch of 4.5- and 5-star ratings bunching together. I remember the buzz surrounding this novel, mostly because of the Ethan Hawke film version that came out when I was a teenager. Even though I didn’t see it, I was aware of it, as I was of other literary fiction that got turned into Oscar-worthy films at about that time, like The Shipping News and House of Sand and Fog.
The novel is set in 1954 on San Piedro, an island of 5,000 off the coast of Washington state. A decade on from the war, the community’s chickens come home to roost when a Japanese American man, Kabuo Miyamoto, is charged with murdering a fellow fisherman, Carl Heine. The men had been engaged in a dispute over some land – seven acres of strawberry fields that were seized from the Miyamoto family when, like the rest of the country’s Japanese population, they were rounded up in internment camps. Meanwhile, Ishmael Chambers, who runs the local newspaper and lost an arm in the war, stumbles on a piece of evidence that might turn the case around. Still in love with Hatsue, now Kabuo’s wife but once his teenage obsession, he is torn between winning her back and wanting to do what’s right.
Guterson alternates between trial scenes and flashbacks to war service or stolen afternoons Ishmael and Hatsue spent kissing in the shelter of massive cedar trees. The mystery element held me completely gripped – readers are just as in the dark as the jurors until very close to the end – but this is mostly a powerful picture of the lasting effects of racism. All the characters are well drawn, even minor ones like elderly defense attorney Nels Gudmundsson. Even though I only read 10 or 15 pages at a sitting over the course of a month, every time I picked up the book I was instantly immersed in the atmosphere, whether it was a warm courtroom with a snowstorm swirling outside or a troop ship entering the Pacific Theater. This has the epic feel of a doorstopper, though it’s only 400 pages. I can’t recommend it highly enough.
The Quality of Silence by Rosamund Lupton (2015)
Ten-year-old Ruby and her mother Yasmin have arrived in Alaska to visit Ruby’s dad, Matt, who makes nature documentaries. When they arrive, police inform them that the town where he was living has been destroyed by fire and he is presumed dead. But Yasmin won’t believe it and they set out on a 500-mile journey north to find her husband, first hitching a ride with a trucker and then going it alone in a stolen vehicle. All the time, with the weather increasingly brutal, they’re aware of someone following them – someone with malicious intent.
The narration is in short segments, alternating between Ruby’s first person and a third-person account from Yasmin’s point-of-view. There are many interesting elements here: Ruby is deaf so communicates via a combination of sign language, voice recognition software, blogs and social media, and describes things synesthetically; Yasmin is a physicist drawing metaphors to scientific concepts, but can’t explain her own mystical certainty that Matt is still alive; and there is an environmentalist message behind the fracking cover-up plot.
But starting with the first page, there are so many improbabilities in play, from a 10-year-old having a Twitter account to Yasmin managing to drive a big rig on ice roads in a foreign country. I knew from reviewing Three Hours last year that Lupton writes addictive thrillers. This one was perfectly readable, but not as good. It’s our book club read for early March, and I expect I won’t be the only one to find it hardly believable.
Plus a skim:
Arctic Dreams by Barry Lopez (1986)
This was my first time trying the late Lopez. It was supposed to be a buddy read with my husband because we ended up with two free copies, but he raced ahead while I limped along just a few pages at a time before admitting defeat and skimming to the end (it was the 20 pages on musk oxen that really did me in). For me, the reading experience was most akin to The Snow Leopard by Peter Matthiessen in that both are about a literal journey in an extreme environment, yet what stands out are the philosophical musings. Where Matthiessen was animated by Buddhist ideas about selfhood and loss, Lopez takes the secular long view of human life and responsibility in light of potential extinction. The epilogue, in particular, is endlessly quotable. It’s depressing to encounter books like this now, though: 30+ years ago, literary nature writers were issuing clarion calls about climate disaster, and we didn’t listen.
Some favorite passages:
“Whenever I met a collared lemming on a summer day and took its stare I would think: Here is a tough animal. Here is a valuable life. … If it could tell me of its will to survive, would I think of biochemistry, or would I think of the analogous human desire? If it could speak of the time since the retreat of the ice, would I have the patience to listen?”
“The cold view to take of our future is that we are therefore headed for extinction in a universe of impersonal chemical, physical, and biological laws. A more productive, certainly more engaging view, is that we have the intelligence to grasp what is happening, the composure not to be intimidated by its complexity, and the courage to take steps that may bear no fruit in our lifetimes.”
“One of the oldest dreams of mankind is to find a dignity that might include all living things. And one of the greatest of human longings must be to bring such dignity to one’s own dreams, for each to find his or her own life exemplary in some way. The struggle to do this is a struggle because an adult sensibility must find some way to include all the dark threads of life. A way to do this is to pay attention to what occurs in a land not touched by human schemes, where an original order prevails.”