20 Books of Summer, 19–20: Emily St. James and Abraham Verghese
Going out on a high! My last three books for the challenge (also including Beautiful Ruins) were particularly great, just the sort of absorbing and rewarding reading that I wish I could guarantee for all of my summer selections.
Woodworking by Emily St. James (2025)
Colloquially, “woodworking” is disappearing in plain sight; doing all you can to fade into the woodwork. Erica has only just admitted her identity to herself, and over the autumn of 2016 begins telling others she’s a woman – starting with her ex-wife Constance, who is now pregnant by her fiancé, John. To everyone else, Erica is still Mr. Skyberg, a 35-year-old English teacher at Mitchell High involved in local amateur dramatics. When Erica realizes that not only is there another trans woman in her small South Dakota town but that it’s one of her students, Abigail Hawkes, she lights up. Abigail may be half her age but is further along in her transition journey and has sassy confidence. But this foul-mouthed new mentor has problems of her own, starting with parents who refuse to refer to her by her chosen name. Abigail lives with her adult sister instead, and gains an unexpected surrogate family via her boyfriend Caleb, a Korean adoptee whose mother, Brooke Daniels, is directing Our Town. Brooke is surprisingly supportive given that she attends Isaiah Rose’s megachurch.

As Trump/Pence signs proliferate, a local election is heating up, too: Pastor Rose is running for State Congress on the Republican ticket, opposed by Helen Swee. Erica befriends Helen and becomes faculty advisor for the school’s Democrat club (which has all of two members: Abigail and her Leslie Knope-like friend Megan). The plot swings naturally between the personal and political, emphasizing how the personal business of 1% of the population has been made into a political football. Chapters alternate between Abigail in first person and Erica in third. The characters feel utterly real and the dialogue is as genuine as the narrative voices. The support group Erica and Abigail attend presents a range of trans experiences based on when one came of age. Some are still deep undercover. There’s a big reveal I couldn’t quite accept, though I can see its purpose. It’s particularly effective how St. James lets second- and third-person narration shade into first as characters accept their selves. Grey rectangles cover up deadnames all but once, making the point that even allies can get it wrong.
This was pure page-turning enjoyment with an important message to convey. It reminded me a lot of Under the Rainbow by Celia Laskey but also had the flavour of classic Tom Perrotta (Election). In the Author’s Note, St. James writes, “They say the single greatest determinant of whether someone will support and affirm trans people is if they know a trans person.” I feel lucky to count three trans people among my friends. It’s impossible to make detached pronouncements about bathrooms and slippery slopes if you care about people whose rights and very existence are being undermined. We should all be reading books by and about trans women. (New purchase from Bookshop.org) ![]()
The Covenant of Water by Abraham Verghese (2023)
All too often, I shy away from doorstoppers because they seem like too much of a time commitment. Why read 715 pages in one novel when I could read 3.5 of 200 pages each? Yet there’s something special about being lost in the middle of a great big book and trusting that wherever the story goes will be worthwhile. I let this review copy languish on the shelf for over TWO YEARS when I should have known that the author of the amazing Cutting for Stone couldn’t possibly let me down. Verghese’s second novel is very much in the same vein: a family saga that spans decades and in every generation focuses on medical issues. Verghese is a practicing doctor as well as a Stanford professor and you can tell he glories in the details of hand and brain surgeries, disability and rare diseases – and luckily, so do I.

Wider events play out in the background (wars, partition, the fall of the caste system), but the focus is always on one family in Kerala, starting in 1900 when a 12-year-old girl is brought to the Parambil estate for her arranged marriage to a 40-year-old widower. One day she will be Big Ammachi, the matriarch of a family with a mysterious Condition: In every generation, someone drowns. As a result, they all avoid water, even if it requires going hours out of their way. Her son Philipose longs to be a scholar, but is so hard of hearing that his formal education is cut short. He becomes a columnist in a local newspaper and marries Elsie, a spirited artist. Their daughter, Mariamma, trains as a doctor. In parallel, we follow the story of Digby Kilgour, a Glaswegian surgeon whose career takes him to India. Through Digby and Mariamma’s interactions with colleagues, we watch colonial incompetence and sexism play out. Addiction and suicide recur across the years. Destiny and choice lock horns. I enjoyed the window onto the small community of St. Thomas Christians and felt fond of all the characters, including Damodaran the elephant. It’s also really clever how Verghese makes the Condition a cross between a mystical curse and a diagnosable ailment. An intellectual soap opera that makes you think about storytelling, purpose and inheritance, this is extraordinary. ![]()
With thanks to Atlantic Books for the proof copy for review.

I read 10 of the books I selected in my initial planning post. I’m pleased that I picked off a couple of long-neglected review copies and several recent purchases. The rest were substituted at whim. There were two duds, but the overall quality was high, with 10 books I rated 4 stars or higher! Along with the above and Beautiful Ruins, Pet Sematary and Storm Pegs were overall highlights. I also managed to complete a row on the Bingo card, a fun add-on. And, bonus: I cleared 7 books from my shelves by reselling or giving them away after I read them.
20 Books of Summer, 13–16: Tony Chan, Jen Hadfield, Kenward Anthology, Catherine Taylor
Three from my initial list (all nonfiction) and one substitute picked up at random (poetry). These are strongly place-based selections, ranging from Sheffield to Shetland and drawing on travels while also commenting on how gender and dis/ability affect daily life as well as the experience of nature.
Four Points Fourteen Lines by Tony Chan (2016)
Chan is a schoolteacher who, in 2015, left his day job to undertake a 78-day solo walk between “the four extreme cardinal points of the British mainland”: Dunnet Head (North) to Ardnamurchan Point (West) in Scotland, down to Lowestoft Ness (East) in Suffolk and across to Lizard Point, Cornwall (South). It was a solo trek of 1,400 miles. He wrote one sonnet per day, not always adhering to the same rhyme scheme but fitting his sentiments into 14 lines of standard length. He doesn’t document much practical information, but does admit he stayed in decent hotels, ate hot meals, etc. Each poem is named for the starting point and destination, but the topic might be what he sees, an experience on the road, a memory, or whatever. “Evanton to Inverness” decries a gloomy city; “Inverness to Foyers” gives thanks for his shoes and lycra undershorts. He compares Highlanders to heroic Trojans: “Something sincere in their browned, moss-green tweeds, / In their greeting voice of gentle tenor. / From ancient Hector or from ancient clans, / Here live men most earnest in words and deeds.” None of the poems are laudable in their own right, but it’s a pleasant enough project. Too often, though, Chan resorts to outmoded vocabulary to fit the form or try to prove a poetic pedigree (“Suddenly comes an Old Testament of deluge and / Tempest, deluding the sense wholly”; “I know these streets, whence they come and whither / They run”; “I learnt well some verses of Tennyson / Years ago when noble dreams were begat”) when he might have been better off varying the form and/or using free verse. (Signed copy from Little Free Library) ![]()
Storm Pegs: A Life Made in Shetland by Jen Hadfield (2024)
This is not so much a straightforward memoir as a set of atmospheric vignettes, each headed by a relevant word or phrase in the Shaetlan dialect. Hadfield, who is British Canadian, moved to the islands in her late twenties in 2006 and soon found her niche. “My new life quickly debunked those Edge-of-the-World myths – Shetland was too busy to feel remote, and had too strong a sense of its own identity to feel frontier-like.” It’s gently ironic, she notes, that she’s a terrible sailor and gets vertigo at height yet lives somewhere with perilous cliff edges that is often reachable only by sea. Living in a trailer waiting for her home to be built on West Burra, she feels the line between indoors and out is especially thin. It’s a life of wild swimming, beachcombing, fresh fish, folk music, seabirds, kind neighbours, and good cheer that warms long winter nights. After the isolation of the pandemic period comes the unexpected joy of a partner and a pregnancy in her mid-forties. Hadfield is a Windham-Campbell Prize-winning poet, and her lyrical prose is full of lovely observations that made me hanker to return to Shetland – it’s been 19 years since my only visit, after all. This was a slow read I savoured for its language and sense of place. ![]()
With thanks to Picador for the free paperback copy for review.
From Shetland authors, I have also reviewed:
Orchid Summer by Jon Dunn (Hadfield mentions him)
Sea Bean by Sally Huband (Hadfield meets her)
The Valley at the Centre of the World by Malachy Tallack
Moving Mountains: Writing Nature through Illness and Disability, ed. Louise Kenward (2023)
I often read memoirs about chronic illness and disability – the sort of narratives recognized by the Barbellion and ACDI Literary Prizes – and the idea of nature essays that reckon with health limitations was an irresistible draw. The quality in this anthology varies widely, from excellent to barely readable (for poor prose or pretentiousness). I’ll be kind and not name names in the latter category; I’ll only say the book has been poorly served by the editing process. The best material is generally from authors with published books: Polly Atkin (Some of Us Just Fall; see also her recent response to the Raynor Winn fiasco), Victoria Bennett (All My Wild Mothers), Sally Huband (as above!), and Abi Palmer (Sanatorium). For the first three, the essay feels like an extension of their memoir, while Palmer’s inventive piece is about recreating seasons for her indoor cats. My three favourite entries, however, were Louisa Adjoa Parker’s poem “This Is Not Just Tired,” Nic Wilson’s “A Quince in the Hand” (she’s an acquaintance through New Networks for Nature and has a memoir out this summer, Land Beneath the Waves), and Eli Clare’s “Moving Close to the Ground,” about being willing to scoot and crawl to get into nature. A number of the other pieces are repetitive, overlong or poorly shaped and don’t integrate information about illness in a natural way. Kudos to Kenward for including BIPOC and trans/queer voices, though. (Christmas gift from my wish list) ![]()
The Stirrings: Coming of Age in Northern Time by Catherine Taylor (2023)
“A typical family and an ordinary story, although neither the family nor the story seems commonplace when it is your family and your story.”
Taylor, who was born in New Zealand and grew up in Sheffield, won the Ackerley Prize for this memoir. (After Dunmore and King, this is the third in my intended four-in-a-row on the 20 Books of Summer Bingo card, fulfilling the “Book published in summer” category – August 2023.) It is bookended by two pivotal summers: 1976, the last normal season in her household before her father left; and 1989, the “Second Summer of Love,” when she had an abortion (the subject of “Milk Teeth,” the best individual chapter and a strong stand-alone essay). In between, fear and outrage overshadow her life: the Yorkshire Ripper is at large, nuclear war looms, mines are closing and protesters meet with harsh reprisals, and her own health falters until she gets a diagnosis of Graves’ disease. Then, in her final year at Cardiff, one of their housemates is found dead. Taylor draws reasonably subtle links to the present day, when fascism, global threats, and femicide are, unfortunately, as timely as ever. She’s the sort of personality I see at every London literary event I attend: Wellcome Book Prize ceremonies, Weatherglass’s Future of the Novella event, and so on. I got the feeling this book is more about bearing witness to history than revealing herself, and so I never warmed to it or to her on the page. But if you’d like to get a feel for the mood of the times, or you have experience of the settings and period, you may well enjoy it more than I did. (New purchase from Bookshop.org with a Christmas book token) ![]()
Three Days in June vs. Three Weeks in July
Two very good 2025 releases that I read from the library. While they could hardly be more different in tone and particulars, I couldn’t resist linking them via their titles.
Three Days in June by Anne Tyler
(From my Most Anticipated list.) A delightful little book that I loved more than I expected to, for several reasons: the effective use of a wedding weekend as a way of examining what goes wrong in marriages and what we choose to live with versus what we can’t forgive; Gail’s first-person narration, a rarity for Tyler* and a decision that adds depth to what might otherwise have been a two-dimensional depiction of a woman whose people skills leave something to be desired; and the unexpected presence of a cat who brings warmth and caprice back into her home. (I read this soon after losing my old cat, and it was comforting to be reminded that cats and their funny ways are the same the world over.)
From Tyler’s oeuvre, this reminded me most of The Amateur Marriage and has a surprise Larry’s Party-esque ending. The discussion of the outmoded practice of tapping one’s watch is a neat tie-in to her recurring theme of the nature of time. And through the lunch out at a chic crab restaurant, she succeeds at making the Baltimore setting essential rather than incidental, more so than in much of her other work.

Gail is in the sandwich generation with a daughter just married and an old mother who’s just about independent. I appreciated that she’s 61 and contemplating retirement, but still feels as if she hasn’t a clue: “What was I supposed to do with the rest of my life? I’m too young for this, I thought. Not too old, as you might expect, but too young, too inept, too uninformed. How come there weren’t any grownups around? Why did everyone just assume I knew what I was doing?”
My only misgiving is that Tyler doesn’t quite get it right about the younger generation: women who are in their early thirties in 2023 (so born about 1990) wouldn’t be called Debbie and Bitsy. To some degree, Tyler’s still stuck back in the 1970s, but her observations about married couples and family dynamics are as shrewd as ever. Especially because of the novella length, I can recommend this to readers wanting to try Tyler for the first time. ![]()
*I’ve noted it in Earthly Possessions. Anywhere else?
Three Weeks in July: 7/7, The Aftermath, and the Deadly Manhunt by Adam Wishart and James Nally
July 7th is my wedding anniversary but before that, and ever since, it’s been known as the date of the UK’s worst terrorist attack, a sort of lesser 9/11 – and while reading this I felt the same way that I’ve felt reading books about 9/11: a sort of awed horror. Suicide bombers who were born in the UK but radicalized on trips to Islamic training camps in Pakistan set off explosions on three Underground trains and one London bus. I didn’t think my memories of 7/7 were strong, yet some names were incredibly familiar to me (chiefly Mohammad Sidique Khan, the leader of the attacks; Jean Charles de Menezes, the innocent Brazilian electrician shot dead on a Tube train when confused with a suspect in the 21/7 copycat plot – police were operating under a new shoot-to-kill policy and this was the tragic result).
Fifty-two people were killed that day, ranging in age from 20 to 60; 20 were not UK citizens, hailing from everywhere from Grenada to Mauritius. But a total of 770 people were injured. I found the authors’ recreation of events very gripping, though do be warned that there is a lot of gruesome medical and forensic detail about fatalities and injuries. They humanize the scale of events and make things personal by focusing on four individuals who were injured, even losing multiple limbs in some cases, but survived and now work in motivational speaking, disability services or survivor advocacy.
What really got to me was thinking about all the hundreds of people who, 20 years on, still live with permanent pain, disability or grief because of the randomness of them or their loved ones getting caught up in a few misguided zealots’ plot. One detail that particularly struck me: with the Tube tunnels closed off at both ends while searchers recovered bodies, the temperature rose to 50 degrees C (122 degrees F), only exacerbating the stench. The book mostly avoids cliches and overwriting, though I did find myself skimming in places. It is based on the research done for a BBC documentary series and synthesizes a lot of material in an engaging way that does justice to the victims. ![]()
Have you read one or both of these?
Could you see yourself picking one of them up?
Three on a Theme: Books on Communes by Crossman, Heneghan & Twigg
Communal living always seems like a great idea but rarely works out well. Why? The short answer: Because people. A longer answer: Political ideals are hard to live out in the everyday when egos clash, practical arrangements become annoying, and lines of privacy or autonomy get crossed. All three books I review today are set in the aftermath of utopian failure. Susanna Crossman, who grew up in an English commune, looks back at 15 years of an abnormal childhood. The community in Birdeye is set to collapse after two founding members announce their departure, leaving one ageing woman and her disabled daughter. And in Spoilt Creatures, from a decade’s distance, Iris narrates the disastrous downfall of Breach House.
Home Is Where We Start: Growing up in the Fallout of the Utopian Dream by Susanna Crossman
For Crossman’s mother, “the community” was a refuge, a place to rebuild their family’s life after divorce and the death of her oldest daughter in a freak accident. For her three children, it initially was a place of freedom and apparent equality between “the Adults” and “the Kids” – who were swiftly indoctrinated into hippie opinions on the political matters of the day. “There is no difference between private and public conversations, between the inside and the outside. No euphemisms. Vaginas are discussed over breakfast alongside domestic violence and nuclear bombs.” Crossman’s present-tense recreation of her precocious eight-year-old perspective is canny, as when she describes watching Charles and Diana’s wedding on television:
It was beautiful, but I know marriage is a patriarchal institution, a capitalist trap, a snare. You can read about it in Spare Rib, or if you ask community members, someone will tell you marriage is legalized rape. It is a construction, and that means it’s not natural, and is part of the social reproduction of gender roles and women’s unpaid domestic labour.
Their mum, now known only as “Alison,” often seemed unaware of what the Kids got up as they flitted in and out of each other’s units. Crossman once electrocuted herself at a plug. Another time she asked if she could go to an adult man’s unit for an offered massage. Both times her mother was unfazed.
The author is now a clinical arts therapist, so her recreation is informed by her knowledge of healthy child development and the long-term effects of trauma. She knows the Kids suffered from a lack of routine and individually expressed love. Community rituals, such as opening Christmas presents in the middle of a circle of 40 onlookers, could be intimidating rather than welcoming. Her molestation and her sister’s rape (when she was nine years old, on a trip to India ‘supervised’ by two other adults from the community) were cloaked in silence.
Crossman weaves together memoir and psychological theory as she examines where the utopian impulse comes from and compares her own upbringing with how she tries to parent her three daughters differently at home in France. Through vignettes based on therapy sessions with patients, she shows how play and the arts can help. (I’d forgotten that I’ve encountered Crossman’s writing before, through her essay on clowning for the Trauma anthology.) I somewhat lost interest as the Kids grew into teenagers. It’s a vivid and at times rather horrifying book, but the author doesn’t resort to painting pantomime villains. Behind things were good intentions, she knows, and there is nuance and complexity to her account. It’s a great mix of being back in the moment and having the hindsight to see it all clearly.
With thanks to Fig Tree (Penguin) for the proof copy for review.
Birdeye by Judith Heneghan
Like Crossman’s community, the Birdeye Colony is based in a big crumbling house in the countryside – but this time in the USA; the Catskills of upstate New York, to be precise. Liv Ferrars has been the de facto leader for nearly 50 years, since she was a young mother to twins. Now she’s a sixty-seven-year-old breast cancer survivor. To her amazement, her book, The Attentive Heart, still attracts visitors, “bringing their problems, their pain and loneliness, hoping to be mended, made whole.”
One of the ur-plots is “a stranger comes to town,” and that’s how Birdeye opens, with the arrival of a young man named Conor who’s read and admired Liv’s book, and seems to know quite a lot about the place. When Indian American siblings Sonny and Mishti, the only others who have been there almost from the beginning, announce that they’re leaving, it seems Birdeye is doomed. But Liv wonders if Conor can be part of a new generation to take it on.
It’s a bit of a sleepy book, with a touch of suspense as secrets emerge from Birdeye’s past. I was slightly reminded of May Sarton’s Kinds of Love. I most appreciated the character study of Liv and her very different relationships with her daughters, who are approaching fifty: Mary is a capable lawyer in London, while Rose suffered oxygen deprivation at birth and is severely intellectually disabled. Since Liv’s illness, Mary has pressured her to make plans for Rose’s future and, ultimately, her own. The duty of care we bear towards others – blood family; the chosen family of friends and comrades, even pets – arises as a major theme. I’d recommend this to those who love small-town novels.
With thanks to Salt Publishing for the free copy for review.
& 20 Books of Summer, #20:
Spoilt Creatures by Amy Twigg
Alas, this proved to be another disappointment from the Observer’s 10 best new novelists feature (following How We Named the Stars by Andrés N. Ordorica). The setup was promising: in 2008, Iris reeling from her break-up from Nathan and still grieving her father’s death in a car accident, goes to live at Breach House after a chance meeting with Hazel, one of the women’s commune’s residents. “Breach House was its own ecosystem, removed from the malfunctioning world of indecision and patriarchy.” Any attempts to mix with the outside world go awry, and the women gain a reputation as strange and difficult. I never got a handle on the secondary characters, who fill stock roles (the megalomaniac leader, the reckless one, the disgruntled one), and it all goes predictably homoerotic and then Lord of the Flies. The dual-timeline structure with Iris’s reflections from 10 years later adds little. An example of the commune plot done poorly, with shallow conclusions rather than deeper truths at play.
With thanks to Tinder Press for the free copy for review.
On this topic, I have also read:
Novels:
Arcadia by Lauren Groff
The Blithedale Romance by Nathaniel Hawthorne
On my TBR:
O Sinners by Nicole Cuffy
We Burn Daylight by Bret Anthony Johnston
Nonfiction:
Heaven Is a Place on Earth by Adrian Shirk
Buddy Reads: Kilmeny of the Orchard by L.M. Montgomery & The Waterfall by Margaret Drabble
Buddy reading and other coordinated challenges are a good excuse to read the sort of books one doesn’t always get to, especially the more obscure classics. This was my third Lucy Maud Montgomery novel within a year and a bit, and my first contribution to Ali’s ongoing year with Margaret Drabble.
{SPOILERS IN BOTH OF THE FOLLOWING REVIEWS}
Kilmeny of the Orchard by L. M. Montgomery (1910)
I’ve participated in Canadian bloggers Naomi of Consumed by Ink and Sarah Emsley’s readalongs of three Montgomery works now. The previous two were Jane of Lantern Hill and The Story Girl. This sweet but rather outdated novella reminded me more of the latter (no surprise as it was published just a year before it) because of the overall sense of lightness and the male perspective, which isn’t what those familiar with the Anne and Emily books might expect from Montgomery.
Eric Marshall travels to Prince Edward Island one May to be the temporary schoolmaster in Lindsay, filling in for an ill friend. At his graduation from Queenslea College, his cousin David Baker had teased him about his apparent disinterest in girls. He arrives on the island to an early summer idyll and soon wanders into an orchard where a beautiful young woman is playing a violin.
This is, of course, Kilmeny Gordon, her first name from a Scottish ballad by James Hogg, and it’s clear she will be the love interest. However, there are a couple of impediments to the romance. One is resistance from Kilmeny’s guardians, the strict aunt and uncle who have cared for her since her wronged mother’s death. But the greater obstacle is Kilmeny’s background – illegitimacy plus a disability that everyone bar Eric views as insuperable: she is mute (or, as the book has it, “dumb”). She hears and understands perfectly well, but communicates via writing on a slate.
There is interesting speculation as to whether her condition is psychological or magically inherited from her late mother, who had taken a vow of silence. Conveniently, cousin David is a doctor specializing in throat and voice problems, so assures Eric and the Gordons that nothing is physically preventing Kilmeny from speech. But she refuses to marry Eric until she can speak. The scene in which she fears for his life and calls out to save him is laughably contrived. The language around disability is outmoded. It’s also uncomfortable that the story’s villain, an adopted Gordon cousin, is characterized only by his Italian heritage.
Like The Story Girl, I found this fairly twee, with an unfortunate focus on beauty (“‘Kilmeny’s mouth is like a love-song made incarnate in sweet flesh,’ said Eric enthusiastically”), and marriage as the goal of life. But it was still a pleasant read, especially for the descriptions of a Canadian spring. (Downloaded from Project Gutenberg) #ReadingKilmeny
The Waterfall by Margaret Drabble (1969)
This was Drabble’s fourth novel; I’ve read the previous three and preferred two of them to this (A Summer Bird-Cage is fab). The setup is similar to The Garrick Year, which I read last year for book club, in that the focus is on a young mother of two who embarks on an affair. When we meet Jane Gray she is awaiting the birth of her second child. Her husband, Malcolm, walked out a few weeks ago, but she has the midwife and her cousin Lucy to rely on. Lucy and her husband, James, trade off staying over with Jane as she recovers from childbirth. James is particularly solicitous and, one night, joins Jane in bed.
At this point there is a stark shift from third person to first person as Jane confesses that she’s been glossing over the complexities of the situation; sleeping with one’s cousin’s husband is never going to be without emotional fallout. “It won’t, of course, do: as an account, I mean, of what took place”; “Lies, lies, it’s all lies. A pack of lies.” The novel continues to alternate between first and third person as Jane gives us glimpses into her uneasy family-making. I found myself bored through much of it, only perking back up for the meta stuff and the one climactic event. In a way it’s a classic tale of free will versus fate, including the choice of how to frame what happens.
I am no longer capable of inaction – then I will invent a morality that condones me.
It wasn’t so, it wasn’t so. I am getting tired of all this Freudian family nexus, I want to get back to that schizoid third-person dialogue.
The narrative tale. The narrative explanation. That was it, or some of it. I loved James because he was what I had never had: because he drove too fast: because he belonged to my cousin: because he was kind to his own child
(What intriguing punctuation there!) The fast driving and obsession with cars is unsubtle foreshadowing: James nearly dies in a car accident on the way to the ferry to Norway. Jane and her children, Laurie and baby Bianca, are in the car but unhurt. This was the days when seatbelts weren’t required, apparently. “It would have been so much simpler if he had been dead: so natural a conclusion, so poetic in its justice.” The Garrick Year, too, has a near-tragedy involving a car. Like many an adultery story, both novels ask whether an affair changes everything, or nothing. Infidelity and the parenting of young children together don’t amount to the most scintillating material, but it is appealing to see Drabble experimenting with how to tell a story. See also Ali’s review. (Secondhand – Alnwick charity shopping)
Rereading Of Mice and Men for #1937Club
A year club hosted by Karen and Simon is always a great excuse to read more classics. Between my shelves and the library, I had six options for 1937. But I started reading too late, and had too many books on the go, to finish more than one – a reread. No matter; it was a good one I was glad to revisit, and I’ll continue with the other reread at my own pace.
Of Mice and Men by John Steinbeck
Are teenagers doomed to dislike the books they read in school? I think this must have been on the curriculum for 11th grade English. It was my third Steinbeck novella after The Red Pony and The Pearl, so to me it confirmed that he wrote contrived, depressing stuff with lots of human and animal suffering. Not until I read The Grapes of Wrath in college and East of Eden (THE Great American Novel) five years ago did I truly recognize Steinbeck’s greatness.
George and Lennie are itinerant farm workers in Salinas Valley, California. Lennie is a gentle giant, intellectually disabled and aware of his own strength when hauling sacks of barley but not when stroking mice and puppies. George looks after Lennie as a favour to Aunt Clara and they’re saving up to buy their own smallholding. This dream is repeated to the point of legend, somewhere between a bedtime story and scripture:
‘Someday—we’re gonna get the jack together and we’re gonna have a little house and a couple of acres an’ a cow and some pigs and—’ ‘An’ live off the fatta the lan’,’ Lennie shouted. ‘And have rabbits.’
They quickly settle in alongside the other ranch-hands and even convert two to their idyllic picture of independence. But the foreman, Curley, is a hothead and his bored would-be-starlet wife won’t stop roaming into the men’s quarters. No matter how much George tells Lennie to stay away from both of them, something is set in motion – an inevitable repeat of an incident from their previous employment that forced them to move on.
I remembered the main contours here but not the ultimate ending, and this time I appreciated the deliberate echoes and heavy foreshadowing (all that symbolism to write formulaic school essays about!): this is Shakespearean tragedy with the signs and stakes writ large against a limited background. Bar some paragraphs of scene-setting descriptions, it is like a play; no surprise it’s been filmed several times. (I wish I didn’t have danged John Malkovich in my head as Lennie; I can’t think of anyone else in that role, whereas Gary Sinise doesn’t necessarily epitomize George for me.) The characterization of the one Black character, Crooks, and the one woman are uncomfortably of their time. However, Crooks is given the dubious honour of conveying the bleak vision: “Nobody never gets to heaven, and nobody gets no land. It’s just in their head.” Like Hardy, Steinbeck knows what happens when the lower classes make the mistake of wanting too much. It’s a timeless tale of grit and desperation, the kind one can’t imagine not existing. (Public library)
Apposite listening: “The Great Defector” by Bell X1 (known for their quirky lyrics):
You’ve been teasing us farm boys
’til we start talking ’bout those rabbits, George
oh, won’t you tell us ’bout those rabbits, George?
Original rating (1999?): ![]()
My rating now: ![]()
Currently rereading: The Hobbit by J.R.R. Tolkien – My father gave me this for Christmas when I was 10. I think I finally read it sometime in my later teens, about when the Lord of the Rings films were coming out. I’m on page 70 now. I’d forgotten just how funny Tolkien is about the set-in-his-ways Bilbo and his devotion to a cosy, quiet life. When he’s roped into a quest to reclaim a mountain hoard of treasure from a dragon – along with 13 dwarves and Gandalf the wizard – he realizes he has much discomfort and many a missed meal ahead of him.
DNFed: Journey by Moonlight by Antal Szerb – My second attempt with Hungarian literature, and I found it curiously similar to the other novel I’d read (Embers by Sandor Márai) in that much of it, at least the 50 pages I read, is a long story told by one character to another. In this case, Mihály, on his Italian honeymoon, tells his wife about his childhood best friends, a brother and sister. I wondered if I was meant to sense homoerotic attachment between Mihály and Tamás, which would appear to doom this marriage right at its outset. (Secondhand – Edinburgh charity shop, 2018)
Skimmed: Out of Africa by Karen Blixen – I enjoyed the prose style but could tell I’d need a long time to wade through the detail of her life on a coffee farm in Kenya, and would probably have to turn a blind eye to the expected racism of the anthropological observation of the natives. (Secondhand – Way’s in Henley, 2015)
Here’s hoping for a better showing next time!
(I’ve previously participated in the 1920 Club, 1956 Club, 1936 Club, 1976 Club, 1954 Club, 1929 Club, and 1940 Club.)

When Doll English is kidnapped by the Ferdia brothers in revenge for a huge loss on a drug deal, his girlfriend, mother and brother must go to unexpected lengths to set him free. There’s plenty of cursing and violence in this small-town crime caper, yet Barrett has a light touch; the dialogue, especially, is funny. The dialect is easy enough to decipher. Nicky, Doll’s girlfriend, lost both parents young and works in a hotel bar. She’s a strong character reminiscent of the protagonist in
Inspired by a real-life disaster involving a train on the approach to Paris’s Montparnasse station in 1895. The Author’s Note at the end reveals the blend of characters included: people known to have been on that particular train, whether as crew or passengers; those who might have journeyed on it because they spent time in Paris at around that period (such as Irish playwright John Millington Synge); and those made up from scratch. It’s a who’s-who of historical figures, many of whom represent different movements or social issues, such as a woman medical student and an African American painter who can pass as white in certain circumstances. Donoghue clearly intends to encompass the entire social hierarchy, from a maid to a politician with a private carriage. She also crafts a couple of queer encounters.
This was a reread for book club, and oh how brilliant it is. I’m more convinced than ever that the memoir-in-essays is a highly effective form because it focuses on themes or moments of great intensity and doesn’t worry about accounting for all the boring intermediate material. A few of these pieces feel throwaway, but together they form a vibrant picture of a life and also inspire awe at what the human body can withstand. No doubt on Wednesday we will each pick out different essays that resonated the most with us, perhaps because they run very close to our own experience. I imagine our discussion will start there – and with sharing our own NDEs. Stylistically, the book has a lot in common with O’Farrell’s fiction, which often employs the present tense and a complicated chronology. The present tense and a smattering of second person make the work immediate and invite readers to feel their way into her situations. Otherwise, my thoughts are as before – the last two essays are the pinnacle.
This is actually her third children’s book, after Where Snow Angels Go (2020) and The Boy Who Lost His Spark (2022). All are illustrated by Daniela Jaglenka Terrazzini, who has a richly colourful and slightly old-fashioned style; she makes kids look as dignified as adults. The books are intended for slightly older children in that they’re on the longer side, have more words than pictures, and are more serious than average. They all weave in gentle magic as a way of understanding and coping with illness, a mental health challenge, or a disability.
Dream Count by Chimamanda Ngozi Adichie




Mitchell was diagnosed with early-onset Alzheimer’s in her fifties and was an energetic campaigner for dementia education and research for the last decade of her life. With a co-author, she wrote three books that give a valuable insider’s view of life with dementia: 