September Releases by John Clegg & Tom Gauld (Lots More to Come!)
There aren’t enough hours in the day, or days left in this month, to write up all the terrific September releases I’ve read. The nonfiction fell into two broad thematic camps: books about books (Remainders of the Day by Shaun Bythell and Blurb Your Enthusiasm by Louise Willder still to come), or books about death (What Remains? by Rupert Callender, And Finally by Henry Marsh, and Sinkhole by Juliet Patterson still to come). However, I’ll start off with the two I happen to have written about so far, which are (the odd one out) poetry about science and watery travel, and bookish cartoons. Both: 
Aliquot by John Clegg
This is the second Carcanet collection by the London bookseller. An aliquot is a sample, a part that represents the whole; a scientific counterpart to synecdoche. It’s a perfect word for what poetry can do: point at larger truths through the pinpricks of meaning found in the everyday. The title poem juxtaposes two moments where the poet muses on the part/whole dichotomy: watching a catering school student and teacher transferring peas from one container to another and spotting two cellists on a tube train. Drawn in by detail, we observe the inevitable movement from separation to togetherness.
A high point is “A Gene Sequence,” about an administrator working behind the scenes at a genomics conference on a Cambridge campus: each poem is named after a different amino acid and the lines (sometimes with the help of extreme enjambment) always begin with the arrangement of A, C, G, and T that encodes them. Here’s an example:
Much of the imagery is maritime, with the occasional reference to a desert (“Language as Sonora”) or settlement (“Dormer Windows” and “Quebec City”). The locations include a science campus and a storm-threatened hotel (“Hurricane Joaquin,” one of my favourites). A proverb is described as being as potent as a raw onion. Here’s a lynx you’ll never see – but she will see you. Like in a Caroline Bird collection, there’s many an absurd or imagined situation. The vocabulary is unusual, sometimes lofty: “their cursory repertoire of query.” Alliteration teems, as in “The High Lama Explains How Items Are Procured for Shangri-La.” Overall, a noteworthy and unique collection that I’d recommend.
A favourite, apropos of nothing stanza from “Lucan – The Waterline”:
There is a kind of crab known to devour human flesh.
There is a shelf five storeys undersea
Where small yachts pile up like bric-a-brac.
There is a town in Maryland called Alibi.
With thanks to Carcanet for the advanced e-copy for review.
Revenge of the Librarians by Tom Gauld
You have probably seen Gauld’s cartoons in the Guardian, New Scientist or New Yorker. I’ve saved clippings of my favourite bookish ones over the years. They’re full of literary in-jokes and bibliophile problems, and divided about equally between a writer’s perspective and a reader’s: the struggle for inspiration and novelty on the one hand, and the battle with the TBR and the impulse to read what one feels one should versus what one enjoys on the other. He pokes holes in the pretensions on either side. Jane Austen features frequently.
Gauld’s figures are usually blocky stick figures without complete facial features (or books or ghosts), and he often makes use of multiple choice and choose your own adventure structures. Elsewhere he plays around with book titles and typical plots, or stages mild-mannered arguments between authors and their editors or publicists, who generally have quite different notions of quality and marketability.
Lest you dismiss cartoons as being out of touch, the effect of the pandemic on bookshops, libraries and literary events is mentioned a few times. Librarians are depicted as old-time gangsters peddling books while their buildings are closed: “Overdue books are dealt with swiftly and mercilessly” it reads under a panel of a fedora-wearing, revolver-toting figure warning, “The boss says if you ain’t finished ‘The Mirror and the Light’ by tomorrow, it’s curtains!”
Some more favourite lines:
- “1903: Henry James writes a sentence so long and circuitous that he becomes lost inside it for three days.”
- (says one pigeon to another) “I’ve become a psychogeographer. It’s mainly walking around disapproving of gentrification.”
- “A horrible feeling crept over Elaine that perhaps the problems with her novel couldn’t be overcome by changing the font.”
Two spreads that are too good not to share in full (I feel seen!):
And would you look at this attention to detail on the inside cover!
This is destined for many a book-lover’s Christmas stocking.
With thanks to Canongate for the free copy for review.
Tempted to read one of these?
What other September releases can you recommend?
Review Catch-Up: Herreros, Onyebuchi and Tookey
Quick snapshot reviews as I work through a backlog.
One each today from fiction, nonfiction and poetry: a graphic novel about the life of Georgia O’Keeffe, a personal response to Chimamanda Ngozi Adichie’s Americanah, and a beautiful collection of place-centric verse.
Georgia O’Keeffe by Maria Herreros (2021; 2022)
[Translated from the Spanish by Lawrence Schimel]
This is the latest in SelfMadeHero’s “Art Masters” series (I’ve also reviewed Gauguin, Munch and Vincent). Madrid-based illustrator Herreros renders O’Keeffe’s life story in an abstract style that feels in keeping with the artist’s own. The book opens in 1915 with O’Keeffe still living in her family home in Virginia and working as an art teacher. Before she ever meets Alfred Stieglitz, she is fascinated by his photography. They fall in love at a distance via a correspondence and later live together in New York City. Their relationship ebbs as she spends more and more time in New Mexico, a desert landscape that inspires many of her most famous paintings. Much of the narrative is provided by O’Keeffe’s own letters (with idiosyncrasies retained); the additional summary text is unfortunately generic, and the urge to cover many years leads to skating over long periods. Still, the erotic attention to detail and the focus on the subject’s dedication to independence made it worthwhile.
With thanks to SelfMadeHero for the free copy for review.
(S)kinfolk: Chimamanda Ngozi Adichie’s Americanah by Tochi Onyebuchi (2021)
I’ve reviewed six previous releases from Fiction Advocate’s “Afterwords” series (on Blood Meridian, Fun Home, and The Year of Magical Thinking; My Struggle and Wild; and Middlesex). In these short monographs, “acclaimed writers investigate the contemporary classics,” weaving literary criticism into memoir as beloved works reverberate through their lives. Onyebuchi, a Nigerian American author of YA dystopian fiction, chose one of my favourite reads of recent years: Americanah. When he read the novel as a lawyer in training, it was the first time he sensed recognition of his own experiences in literature. He saw his immigrant mother’s situation, the collective triumph of Obama’s election, and his (re)discovery of Black beauty and spaces. Like Ifemelu: he was an outsider to African American identity and had to learn it gradually; and he makes a return trip to Nigeria at the end. I enjoyed this central thread but engaged less with asides about a 2013 visit to the West Bank (for a prisoners’ rights organization) and Frantz Fanon’s work on Algeria.
With thanks to Fiction Advocate for the free e-copy for review.
In the Quaker Hotel by Helen Tookey (2022)
Tookey’s third collection brings its variety of settings – an austere hotel, Merseyside beaches and woods, the fields and trees of Southern France (via Van Gogh’s paintings), Nova Scotia (she completed a two-week residency at the Elizabeth Bishop House in 2019) – to life as vibrantly as any novel or film could. In recent weeks I’ve taken to pulling out my e-reader as I walk home along the canal path from library volunteering, and this was a perfect companion read for the sunny waterway stroll, especially the poem “Track.” Whether in stanzas, couplets or prose paragraphs, the verse is populated by meticulous images and crystalline musings.
not a loss
something like a clarifying
becoming something you can’t name
There are evanescent encounters (“Leapfrog”) and deep time (“Natural History”); playing with language (“Concession à Perpetuité”) and erasures (“Pool / Other Body”). You’ll find alliteration and ampersands (a trend in contemporary poetry?), close observation of nature, and no trace of cliché. Below are the opening stanzas of a couple of poems to give a flavour:
With thanks to Carcanet Press for the free e-copy for review.
Would you be interested in reading one or more of these?
The Best Books from the First Half of 2022
Yes, it’s that time of year already! At first I thought I wouldn’t have enough 2022-released standouts to fill a post, but the more I looked through my list the more I realized that, actually, it has been a pretty good reading year. It remains to be seen, of course, how many of these will make it onto my overall best-of year list, but for now, these are my highlights. I made it up to an even 20 by including one that doesn’t release until July. Fiction is winning thus far! I give review excerpts below and link to the full text here or elsewhere.
Fiction
Our Wives under the Sea by Julia Armfield: Miri is relieved to have her wife back when Leah returns from an extended deep-sea expedition. Something went wrong with the craft when it was too late to evacuate, though. Chapters alternate between Miri describing their new abnormal and Leah recalling the voyage. As Miri tries to tackle life admin for both of them, she feels increasingly alone. This is a sensitive study of love, grief and dependency. Armfield gives an increasingly eerie story line a solid emotional foundation.
These Days by Lucy Caldwell: A beautiful novel set in Belfast in April 1941. We see the Second World War mostly through the eyes of the Bell family – especially daughters Audrey, engaged to be married to a young doctor, and Emma, in love with a fellow female first aider. The evocation of a time of crisis is excellent. The lack of speech marks, fluid shifting between perspectives, and alternation between past and present tense keep the story from seeming too familiar or generic. All of the female characters have hidden depths.
Groundskeeping by Lee Cole: In Cole’s debut novel, two aspiring writers meet on a Kentucky college campus and form a romantic connection despite very different backgrounds. There are stereotypes to be overcome as Owen introduces Alma to Kentucky culture and slang. Trump’s election divides families and colleagues. The gentle satire on the pretensions of writing programs is another enjoyable element. Three-dimensional characters, vivid scenes ripe for the Netflix treatment, timely themes and touching relationships: alright!
Days of Sand by Aimée de Jongh: This Great Depression-era story was inspired by the work of photographers such as Dorothea Lange. John Clark is following in his father’s footsteps as a photographer, leaving NYC for the Oklahoma panhandle. Locals are suspicious of John as an outsider, especially when they learn he is working to a checklist. Whether a cityscape or the midst of a dust storm, de Jongh’s scenes are stark and evocative. It’s rare for me to find the story and images equally powerful in a graphic novel, but that’s definitely the case here.
Dance Move by Wendy Erskine: The 11 stories in Erskine’s second collection do just what short fiction needs to: dramatize an encounter, or a moment, that changes life forever. Her characters are ordinary, moving through the dead-end work and family friction that constitute daily existence, until something happens, or rises up in the memory, that disrupts the tedium. Erskine being from Belfast, evidence of the Troubles is never far away. Her writing is blunt and edgy, with no speech marks plus flat dialogue and slang.
Antipodes by Holly Goddard Jones: Riveting stories of contemporary life in the American South and Midwest. Some have pandemic settings; others are gently magical. All are true to the anxieties of modern careers, marriage and parenthood. Endings elicit a gasp, particularly the audacious inconclusiveness of “Exhaust,” a tense tale of a quarreling couple driving through a blizzard. Worry over environmental crises fuels “Ark,” about a pyramid scheme for doomsday preppers. Nickolas Butler and Lorrie Moore fans will find much to admire.
Sea of Tranquility by Emily St. John Mandel: This dazzlingly intricate novel blends historical fiction, up-to-the-minute commentary and science-fiction predictions. In 2401, the Time Institute hires Gaspery-Jacques Roberts to investigate a recurring blip in time. Fans of The Glass Hotel will recognize some characters, and those familiar with Station Eleven will find similarities in a pandemic plot that resonates with the Covid-19 experience. How does Mandel do it? One compulsively readable hit after another.
Very Cold People by Sarah Manguso: The aphoristic style of some of Manguso’s previous books continues here as discrete paragraphs and brief vignettes build to a gloomy portrait of Ruthie’s archetypical affection-starved childhood in the fictional Massachusetts town of Waitsfield in the 1980s and 90s. The depiction of Ruthie’s narcissistic mother is especially acute. So much resonated with me. This is the stuff of girlhood – if not universally, then certainly for the (largely pre-tech) American 1990s as I experienced them.
How High We Go in the Dark by Sequoia Nagamatsu: Just the right blend of literary fiction and science fiction. Opening in 2031 and stretching another 70 years into the future, this linked short story collection imagines how a pandemic reshapes the world and how communication and connection might continue after death. All but one story are in the first person, so they feel like personal testimonies. The whole is greater than the sum of the parts. The focus on illness and bereavement, but also on the love that survives, made this a winner.
The Swimmers by Julie Otsuka: Otsuka’s third novel of the Japanese American experience again employs the first-person plural, as well as the second person – rarer perspectives that provide stylistic novelty. The first two chapters are set at a pool that, for the title swimmers, serves as a locus of escape and safety. On the first page we’re introduced to Alice, whose struggle with dementia becomes central. I admired Otsuka’s techniques for moving readers through the minds of the characters, alternating range with profundity and irony with sadness.
French Braid by Anne Tyler: My 17th from Tyler, and easily her best new work in 18 years. It joins my other favourites such as Dinner at the Homesick Restaurant which reveal a dysfunctional family’s quirks through a close look, in turn, at the various members. Mercy is a painter and essentially moves into her studio, but without announcing it, and her husband Robin spends the next 25+ years pretending they still share a home. Other surprises from Tyler this time: a mild sex scene and a gay character. A return to form. Brava!
Nonfiction
In Love by Amy Bloom: Bloom’s husband, Brian Ameche, was diagnosed with early-onset Alzheimer’s in his mid-60s, having exhibited mild cognitive impairment for several years. Brian quickly resolved to make a dignified exit while he still, mostly, had his faculties. This achieves the perfect tone, mixing black humour with teeth-gritted practicality as Bloom chronicles their relationship, the final preparations, his assisted suicide at Dignitas in Switzerland, and the aftermath. An essential, compelling read.
Everything Is True by Roopa Farooki: Second-person, present-tense narration drops readers right into the life of a junior doctor. In February 2020, Farooki’s sister Kiron died of breast cancer. During the first 40 days of the initial UK lockdown, she continues to talk to Kiron. Grief opens the door for magic realism. There is also wry humour, wordplay, slang and cursing. A hybrid work that reads as fluidly as a novel while dramatizing real events, this is sure to appeal to people who wouldn’t normally pick up a bereavement or medical memoir.
Body Work by Melissa Febos: A boldly feminist essay collection that explores how autobiographical writing can help one face regrets and trauma and extract meaning from the “pliable material” of memory. “In Praise of Navel Gazing” affirms the importance of women airing their stories of abuse and thereby challenging the power structures that aim to keep victims silent. “A Big Shitty Party” warns of the dangers of writing about real people. “The Return” employs religious language for the transformation writing can achieve.
All Down Darkness Wide by Seán Hewitt: This poetic memoir about love and loss in the shadow of mental illness blends biography, queer history and raw personal experience. The book opens, unforgettably, in a Liverpool graveyard where Hewitt has assignations with anonymous men. His secret self, suppressed during teenage years in the closet, flies out to meet other ghosts: of his college boyfriend; of men lost to AIDS during his 1990s childhood; of English poet George Manley Hopkins; and of a former partner who was suicidal. (Coming out on July 12th from Penguin/Vintage (USA) and July 14th from Jonathan Cape (UK). My full review is forthcoming for Shelf Awareness.)
Poetry
Thorpeness by Alison Brackenbury: This tenth collection features abundant imagery of animals and the seasons. Alliteration is prominent, but there is also a handful of rhymes. 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. There are also playful meetings between historical figures.
Some Integrity by Padraig Regan: The sensual poems in this debut collection are driven by curiosity, hunger and queer desire. Flora and foods are described as teasing mystery, with cheeky detail. An unusual devotion to ampersands; an erotic response to statuary; alternating between bold sexuality and masochism to the point of not even wanting to exist; a central essay on the Orlando nightclub shooting and videogames – the book kept surprising me. I loved the fertile imagery, and appreciated Regan’s exploration of a nonbinary identity.
Love Poems in Quarantine by Sarah Ruhl: Having read Ruhl’s memoir Smile, I recognized the contours of her life and the members of her family. Cooking and laundry recur: everyday duties mark time as she tries to write and supervises virtual learning for three children. “Let this all be poetry,” she incants. Part 2 contains poems written after George Floyd’s murder, the structure mimicking the abrupt change in focus for a nation. Part 3’s haiku and tanka culminate in a series on the seasons. A welcome addition to the body of Covid-19 literature.
Rise and Float by Brian Tierney: Although it tackles heavy subjects like grief and mental health, the collection’s candor and stunning images transform the melancholy into the sublime. Much of the verse is in the first person, building an intimate portrait of the poet and his relationships. A family history of mental illness and electroshock treatment occasions a visit to a derelict psychiatric hospital. Recurring metaphors of holes dramatize a struggle against the void. Tierney’s close attention lends beauty to bleak scenes.
Vinegar Hill by Colm Tóibín: I didn’t realize when I started that this was Tóibín’s debut collection; so confident is his verse, I assumed he’d been publishing poetry for decades. There’s a wide range of tone, structures and topics. Bereavements and chemotherapy are part of a relatable current events background. Irish-Catholic nostalgia animates a witty sequence from “The Nun” to “Vatican II.” Come along on armchair travels. Poems are based around anecdotes or painterly observations. The line breaks are unfailingly fascinating.
What are some of the best books you’ve read so far this year?
What 2022 releases do I need to catch up on right away?
Reviews: de Jongh, Eipe, Parker and Scull
Today’s roundup includes a graphic novel set during the U.S. Dust Bowl, a Dylan Thomas Prize-shortlisted poetry collection infused with Islamic imagery, a book about adaptive technologies for the disabled, and a set of testimonies from the elderly and terminally ill.
Days of Sand by Aimée de Jongh (2021; 2022)
[Translated from the Dutch by Christopher Bradley]
Dust can drive people mad.
This terrific Great Depression-era story was inspired by the real-life work of photographers such as Dorothea Lange who were sent by the Farm Security Administration, a new U.S. federal agency, to document the privations of the Dust Bowl in the Midwest. John Clark, 22, is following in his father’s footsteps as a photographer, leaving New York City to travel to the Oklahoma panhandle. He quickly discovers that struggling farmers are believed to have brought the drought on themselves through unsustainable practices. Many are fleeing to California. The locals are suspicious of John as an outsider, especially when they learn that he is working to a checklist (“Orphaned children”, “Family packing car to leave”).
“The best photos have an instant impact. Right away, they grab our attention. They tell a story, or deliver a message. The question is: how do you make that happen?” one of his employers had asked. John grows increasingly uncomfortable with being part of what is essentially a propaganda campaign when he develops a personal fondness for Cliff, a little boy who offers to be his assistant, and Betty, a pregnant widow whose runaway horse he finds. The deprivation and death he sees at close hand bring back memories of his father’s funeral four years ago.
Whether a cityscape or the midst of a dust storm, de Jongh’s scenes are stark and evocative. Each chapter opens with a genuine photograph from the period (de Jongh travelled to the USA for archival and on-the-ground research thanks to a grant from the Dutch Foundation for Literature), and some panes mimic B&W photos the FSA team took. It’s rare for me to find the story and images equally powerful in a graphic novel, but that’s definitely the case here.
With thanks to SelfMadeHero for the free copy for review.
Auguries of a Minor God by Nidhi Zak/Aria Eipe (2021)
This debut poetry collection is on the Dylan Thomas Prize shortlist. I’ve noted that recent winners – such as Lot by Bryan Washington and Luster by Raven Leilani – have in common a distinctive voice and use of language, which chimes with what Thomas was known for (see my recent review of Under Milk Wood) and clarifies what the judges are looking for.
The placement of words on the page seems to be very important in this volume – spread out or bunched together, sometimes descending vertically, a few in grey. It’s unfortunate, then, that I read an e-copy, as most of the formatting was lost when I put it on my Nook. The themes of the first part include relationships, characterized by novelty or trauma; tokens of home experienced in a new land; myths; and nature. Section headings are in Malayalam.
The book culminates in a lengthy, astonishingly nimble abecedarian in which a South Asian single father shepherds his children through English schooling as best he can while mired in grief over their late mother. This bubbles over in connection with her name, Noor, followed by a series of “O” apostrophe statements, some addressed to God and others exhorting fellow believers. Each letter section gets progressively longer. I was impressed at how authentically the final 30-page section echoes scriptural rhythms and content – until I saw in the endnotes that it was reproduced from a 1997 translation of the Quran, and felt a little cheated. Still, “A is for…” feels like enough to account for this India-born poet’s shortlisting. (The Prize winner will be announced on Thursday the 12th.)
With thanks to Midas PR for the free e-copy for review.
Hybrid Humans: Dispatches from the Frontiers of Man and Machine by Harry Parker (2022)
I approached this as a companion to To Be a Machine by Mark O’Connell and that is precisely what I found, with Parker’s personal insight adding a different angle to the discussion of how technology corrects and transcends flawed bodies. Parker was a captain in the British Army in Afghanistan when an IED took his legs. Now he wears prostheses that make him roughly 12% machine. “Being a hybrid human means expensive kit – you have to pay for the privilege of leading a normal life.” He revisits the moments surrounding his accident and his adjustment to prostheses, and meets fellow amputees like Jack, who was part of a British medical trial on osseointegration (where titanium implants come out of the stump for a prosthesis to attach to) that enabled him to walk much better. Other vets they know had to save up and travel to Australia to have this done because the NHS didn’t cover it.
Travelling to the REHAB trade fair in Karlsruhe, Parker learns that disability, too, can be the mother of invention. Virtual reality and smartphone technology are invaluable, with an iPhone able to replace up to 11 single-purpose devices. Yet he also encounters disabled people who are happy with their lot and don’t look to tech to improve it, such as Jamie, who’s blind and relies only on a cane. And it’s not as if tools to compensate for disability are new; the book surveys medical technologies that have been with us for decades or even centuries: from glass eyes to contact lenses; iron lungs, cochlear implants and more.
Pain management, PTSD, phantom limbs, foreign body rejection, and deep brain stimulation for Parkinson’s disease are other topics in this wide-ranging study that is at the juncture of the personal and political. “A society that doesn’t look after the vulnerable isn’t looking after anyone – I’d learnt first-hand that we’re all just a moment from becoming vulnerable,” Parker concludes. I’ll hope to see this one on next year’s Barbellion Prize longlist.
With thanks to Profile Books/Wellcome Collection for the free copy for review.
Regrets of the Dying: Stories and Wisdom that Remind Us How to Live by Georgina Scull (2022)
A medical crisis during pregnancy that had her minutes from death was a wake-up call for Scull, leading her to rethink whether the life she was living was the one she wanted. She spent the next decade interviewing people in her New Zealand and the UK about what they learned when facing death. Some of the pieces are like oral histories (with one reprinted from a blog), while others involve more of an imagining of the protagonist’s past and current state of mind. Each is given a headline that encapsulates a threat to contentment, such as “Not Having a Good Work–Life Balance” and “Not Following Your Gut Instinct.” Most of her subjects are elderly or terminally ill. She also speaks to two chaplains, one a secular humanist working in a hospital and the other an Anglican priest based at a hospice, who recount some of the regrets they hear about through patients’ stories.
Recurring features are not spending enough time with family and staying too long in loveless or unequal relationships. Two accounts that particularly struck me were Anthea’s, about the tanning bed addiction that gave her melanoma, and Millicent’s, guilty that she never went to the police about a murder she witnessed as a teenager in the 1930s (with a NZ family situation that sounds awfully like Janet Frame’s). Scull closes with 10 things she’s learned, such as not to let others’ expectations guide your life and to appreciate the everyday. These are readable narratives, capably captured, but there isn’t much here that rises above cliché.
With thanks to publicist Claire Morrison and Welbeck for the free copy for review.
Would you be interested in reading one or more of these?
Six Short Cat Books for #NovNov: Muriel Barbery, Garfield and More
Reviews of books about cats have been a regular element on my blog over the years, though not for quite a while. I happen to have amassed a number of illustrated novelty cat books recently, all of them under 150 pages, so Novellas in November is my excuse to feature them together. All six were enjoyable and a nice break from heavier reads on my stacks: 
.
The Writer’s Cats by Muriel Barbery; illus. Maria Guitart (2020; 2021)
[Translated from the French by Alison Anderson; 80 pages]
I could have included this in a translated literature post, but decided to go by theme instead; I also considered reviewing it during nonfiction week as I thought it was a brief memoir. As it turns out, it’s a whimsical tale I’d be more likely to classify under fiction. Barbery has four Chartreux cats – two pairs of siblings: Ocha and Mizu, and Kirin and Petrus. Kirin, one of the younger pair, narrates the book, giving the cats’ view of the writer (and the musician she lives with). They diagnose her as being afflicted with restlessness, doubt and denial, and decide to learn to read so that they can act as literary advisors and comment on her work in progress. Naturally, they’d like to receive royalties for this service. “Yes, we are – in all modesty – decorative, protective deities watching over her rigid little aesthetic world”. Barbery is a Japanophile, so Guitart’s illustrations mix Japanese minimalism with Parisian chic and use as a palette the grey and orange colouring of the cats themselves. This was cute! (Also reviewed by Annabel and Davida.) A favourite illustration:
With thanks to Gallic Books for the free copy for review.
Four Garfield comics anthologies by Jim Davis:
Two’s Company (#5, 1984), We Love You Too (#10, 1985), Here We Go Again (#11, 1986), Flying High (#16, 1988)
[Each: 128 pages]
When these came into our temporary Little Free Library at the end of the summer I snapped them up, remembering happy times reading the syndicated comic in the Washington Post and watching the animated TV show on weekends growing up. I could even hear the actor who voices Garfield in my head on some lines.
In a sense, if you’ve read one of these volumes you’ve read them all, because the same sorts of set pieces repeat. Garfield’s gluttony and laziness know no bounds, so in between naps, he’ll snatch lasagnes and whatever other people food he can get. He’ll mock owner Jon, bait Odie the dog, ignore the mice in the house, terrorize Nermal the cute kitten, and flirt with Arlene. For the most part, the plots don’t leave the house, though in Two’s Company Jon and Garfield fly to Hawaii on vacation.
Garfield was the original grumpy cat, with smugness the only other emotion you’ll regularly see on his face. His ways will remind you of your own feline acquaintances (except he also drinks coffee and hates Mondays). The sense of humour is sarcasm par excellence. A favourite page from Flying High:
The Calculating Cat Returns by Nancy Prevo; illus. Eric Gurney (1978)
[138 pages]
A tongue-in-cheek book mostly composed of black-and-white cartoons. The “calculating cat” is a bit like Terry Pratchett’s “real cat” from The Unadulterated Cat, but comes in a few varieties (or “CAT-egories,” as they’re called here): Pampered Cats, Working Cats, and Tramp cats. My cat was apparently the third type, living on the streets, for a short time, though you’d never know it to look at him now. During his 10th summer he tried working as a hunter, but quickly retired. He’s now solidly of the pampered class.
There are chapters here on playtime, eating habits, sleep, travel, and mating (not something many of us cat owners have to worry about these days). This remains reasonably undated because cats don’t change; it’s the human fashions that evolve and would look different in a book published today. (Free bookshop)
A favourite drawing:
Any cat (or dog) books among your recent reading?
Autumnal Children’s and YA Books
Browsing through old magazines, I found a fun BookPage reading list from October 2019 entitled “Pumpkin spice latte literature.” It asks, “what if autumn were distilled into a book? The mixture of crispness and warmth, the thrill of possibility, the bittersweetness of change—these books are pure pumpkin spice.” I love the lateral thinking that came up with
The Art of Fielding by Chad Harbach (back to school in the Midwest)- I Remember Nothing by Nora Ephron (wry reflections from the autumn of a life)
- Possession by A.S. Byatt (bookish geeking out)
- Calling a Wolf a Wolf by Kaveh Akbar (taking comfort from a vision of recovery from alcoholism)
- An Enchantment of Ravens by Margaret Rogerson (wit and magic)
I’ve read the first three, and am keen to catch up on Akbar’s debut poetry collection after loving Pilgrim Bell this summer. I’m only unlikely to pick up Rogerson’s fantasy. In any case, I enjoyed seeing how the editors came up with their selections.
I tend to be rather more literal with my seasonal reading recommendations. Does it have autumn in the title or as a setting?! Is it about pumpkins or Halloween?
This year I happen to have amassed all children’s and YA selections.
October, October by Katya Balen (2020)
I’ll admit it: it was Angela Harding’s gorgeous cover illustration that drew me to this one. But I found a story that lived up to it, too. October, who has just turned 11 and is named after her birth month, lives in the woods with her father. Their shelter and their ways are fairly primitive, but it’s what October knows and loves. When her father has an accident and she’s forced into joining her mother’s London life, her only consolations are her rescued barn owl chick, Stig, and the mudlarking hobby she takes up with her new friend, Yusuf.
The child’s perspective is well rendered through artful run-on sentences. Balen is careful to show the consequences of October’s decisions and to present advantages as well as disadvantages so it’s not just countryside = good, city = bad. I thought the father’s recovery a bit too quick, but overall, this middle grade novel was a great read for any age, as well as one to get kids thinking about illness and loss. And how about these heart-tugging last lines? “There are stories everywhere and I want to tell them all. And all the world is wild and waiting for me.” (Public library)
Autumn Story by Jill Barklem (1980)
The second in the quartet of seasonal “Brambly Hedge” stories. Autumn is a time for stocking the pantry shelves with preserves, so the mice are out gathering berries, fruit and mushrooms. Young Primrose wanders off, inadvertently causing alarm – though all she does is meet a pair of elderly harvest mice and stay for tea and cake in their round nest amid the cornstalks. I love all the little touches in the illustrations: the patchwork tea cosy matches the quilt on the bed one floor up, and nearly every page is adorned with flowers and other foliage. After we get past the mild peril that seems to be de rigueur for any children’s book, all is returned to a comforting normal. Time to get the Winter volume out from the library. (Public library)
Une Chanson d’ours by Benjamin Chaud (2011)
The first whole book I’ve read in French in many a year. I just about coped, given that it’s a picture book with not all that many words on a page; any vocabulary I didn’t know offhand, I could understand in context. It’s late into the autumn and Papa Bear is ready to start hibernating for the year, but Little Bear spies a late-flying bee and follows it out of the woods and all the way to the big city. Papa Bear, realizing his lad isn’t beside him in the cave, sets out in pursuit and bee, cub and bear all end up at the opera hall, to the great surprise of the audience. What will Papa do with his moment in the spotlight? This is a lovely book that, despite the whimsy, still teaches about the seasons and parent–child bonds as it offers a vision of how humans and animals could coexist. I’ve since found out that this was made into a series of four books, all available in English translation. (Little Free Library)
Pumpkinheads by Rainbow Rowell; illus. Faith Erin Hicks (2019)
This YA graphic novel is set on a Nebraska pumpkin patch that’s more like Disney World than a simple field down the road. Josiah and Deja have worked together at the Succotash Hut for the last three autumns. Today they’re aware that it’s their final Halloween before leaving for college. Deja’s goal is to try every culinary delicacy the patch has to offer – a smorgasbord of foodstuffs that are likely to be utterly baffling to non-American readers: candy apples, Frito pie (even I hadn’t heard of this one), kettle corn, s’mores, and plenty of other saccharine confections.
Josiah’s goal, by contrast, is to catch the eye of Marcy, the beauty who works at the fudge stand. Deja convinces him to desert the Succotash Hut and go in pursuit of Marcy via as many food stands as possible. She’s willing to indulge his unrealistic fantasy even though, as a bisexual who’s dated just about everyone at the patch, she knows romance is sometimes not all it’s cracked up to be. Meanwhile, there’s an angry billy goat on the loose.
This is a fun and quick romp, and the ending genuinely surprised me. I liked the story better than the art, though – my main problem was that these teen characters look more like they’re 30 (Josiah, especially, looks almost haggard what with the sharp lines down the sides of his face – I guess they’re to give him a ‘chiselled’ jaw?), similar to that weird phenomenon of much older actors playing high schoolers. So, I laughed to see in an afterword conversation between Rowell and Hicks that one of the major things they changed from early mock-ups was making the protagonists look older. (Public library) 
Pick a Pumpkin by Patricia Toht; illus. Jarvis (2019)
From picking the best pumpkin at the patch to going out trick-or-treating, this is a great introduction to Halloween traditions. It even gives step-by-step instructions for carving a jack-o’-lantern. The drawing style – generally 2D, and looking like it could be part cut paper collages, with some sponge painting – reminds me of Ezra Jack Keats and most of the characters are not white, which is refreshing. There are lots of little autumnal details to pick out in the two-page spreads, with a black cat and crows on most pages and a set of twins and a mouse on some others. The rhymes are either in couplets or ABCB patterns. Perfect October reading. (Public library)
Any super-autumnal reading for you this year?
Do you read children’s picture books and YA novels even if you (and any children) are well past that age – or is it just me?
Review Book Catch-Up: Motherhood, Nature Essays, Pandemic, Poetry
July slipped away without me managing to review any current-month releases, as I am wont to do, so to those three I’m adding in a couple of other belated review books to make up today’s roundup. I have: a memoir-cum-sociological study of motherhood, poems of Afghan women’s experiences, a graphic novel about a fictional worst-case pandemic, seasonal nature essays from voices not often heard, and poetry about homosexual encounters.
(M)otherhood: On the choices of being a woman by Pragya Agarwal
“Mothering would be my biggest gesture of defiance.”
Growing up in India, Agarwal, now a behavioural and data scientist, wished she could be a boy for her father’s sake. Being the third daughter was no place of honour in society’s eyes, but her parents ensured that she got a good education and expected her to achieve great things. Still, when she got her first period, it felt like being forced onto a fertility track she didn’t want. There was a dearth of helpful sex education, and Hinduism has prohibitions that appear to diminish women, e.g. menstruating females aren’t permitted to enter a temple.
Married and unexpectedly pregnant in 1996, Agarwal determined to raise her daughter differently. Her mother-in-law was deeply disappointed that the baby was a girl, which only increased her stubborn pride: “Giving birth to my daughter felt like first love, my only love. Not planned but wanted all along. … Me and her against the world.” No element of becoming a mother or of her later life lived up to her expectations, but each apparent failure gave a chance to explore the spectrum of women’s experiences: C-section birth, abortion, divorce, emigration, infertility treatment, and finally having further children via a surrogate.
While I enjoyed the surprising sweep of Agarwal’s life story, this is no straightforward memoir. It aims to be an exhaustive survey of women’s life choices and the cultural forces that guide or constrain them. The book is dense with history and statistics, veers between topics, and needed a better edit for vernacular English and smoothing out academic jargon. I also found that I wasn’t interested enough in the specifics of women’s lives in India.
With thanks to Canongate for the free copy for review.
Forty Names by Parwana Fayyaz
“History has ungraciously failed the women of my family”
Have a look at this debut poet’s journey: Fayyaz was born in Kabul in 1990, grew up in Afghanistan and Pakistan, studied in Bangladesh and at Stanford, and is now, having completed her PhD, a research fellow at Cambridge. Many of her poems tell family stories that have taken on the air of legend due to the translated nicknames: “Patience Flower,” her grandmother, was seduced by the Khan and bore him two children; “Quietude,” her aunt, was a refugee in Iran. Her cousin, “Perfect Woman,” was due to be sent away from the family for infertility but gained revenge and independence in her own way.
Fayyaz is bold to speak out about the injustices women can suffer in Afghan culture. Domestic violence is rife; miscarriage is considered a disgrace. In “Roqeeya,” she remembers that her mother, even when busy managing a household, always took time for herself and encouraged Parwana, her eldest, to pursue an education and earn her own income. However, the poet also honours the wisdom and skills that her illiterate mother exhibited, as in the first three poems about the care she took over making dresses and dolls for her three daughters.
As in Agarwal’s book, there is a lot here about ideals of femininity and the different routes that women take – whether more or less conventional. “Reading Nadia with Eavan” was a favourite for how it brought together different aspects of Fayyaz’s experience. Nadia Anjuman, an Afghan poet, was killed by her husband in 2005; many years later, Fayyaz found herself studying Anjuman’s work at Cambridge with the late Eavan Boland. Important as its themes are, I thought the book slightly repetitive and unsubtle, and noted few lines or turns of phrase – always a must for me when assessing a poetry collection.
With thanks to Carcanet Press for the free copy for review.
Resistance by Val McDermid; illus. Kathryn Briggs
The second 2021 release I read in quick succession in which all but a small percentage of the human race (here, 2 million people) perishes in a pandemic – the other was Under the Blue. Like Aristide’s novel, this story had its origins in 2017 (in this case, on BBC Radio 4’s “Dangerous Visions”) but has, of course, taken on newfound significance in the time of Covid-19. McDermid imagines the sickness taking hold during a fictional version of Glastonbury: Solstice Festival in Northumberland. All the first patients, including a handful of rockstars, ate from Sam’s sausage sandwich van, so initially it looks like food poisoning. But vomiting and diarrhoea give way to a nasty rash, listlessness and, in many cases, death.
Zoe Beck, a Black freelance journalist who conducted interviews at Solstice, is friends with Sam and starts investigating the mutated swine disease, caused by an Erysipelas bacterium and thus nicknamed “the Sips.” She talks to the festival doctor and to a female Muslim researcher from the Life Sciences Centre in Newcastle, but her search for answers takes a backseat to survival when her husband and sons fall ill.
The drawing style and image quality – some panes are blurry, as if badly photocopied – let an otherwise reasonably gripping story down; the best spreads are collages or borrow a frame/backdrop (e.g. a medieval manuscript, NHS forms, or a 1910s title page).
SPOILER
{The ending, which has an immune remnant founding a new community, is VERY Parable of the Sower.}
With thanks to Profile Books/Wellcome Collection for the free copy for review.
Gifts of Gravity and Light: A Nature Almanac for the 21st Century, ed. Anita Roy and Pippa Marland
I hadn’t heard about this upcoming nature anthology when a surprise copy dropped through my letterbox. I’m delighted the publisher thought of me, as this ended up being just my sort of book: 12 autobiographical essays infused with musings on landscapes in Britain and elsewhere; structured by the seasons to create a gentle progression through the year, starting with the spring. Best of all, the contributors are mostly female, BIPOC (and Romany), working class and/or queer – all told, the sort of voices that are heard far too infrequently in UK nature writing. In momentous rites of passage, as in routine days, nature plays a big role.
A few of my favourite pieces were by Kaliane Bradley, about her Cambodian heritage (the Wishing Dance associated with cherry blossom, her ancestors lost to genocide, the Buddhist belief that people can be reincarnated in other species); Testament, a rapper based in Leeds, about capturing moments through photography and poetry and about the seasons feeling awry both now and in March 2008, when snow was swirling outside the bus window as he received word of his uni friend’s untimely death; and Tishani Doshi, comparing childhood summers of freedom in Wales with growing up in India and 2020’s Covid restrictions.
Most of the authors hold two places in mind at the same time: for Michael Malay, it’s Indonesia, where he grew up, and the Severn estuary, where he now lives and ponders eels’ journeys; for Zakiya McKenzie, it’s Jamaica and England; for editor Anita Roy, it’s Delhi versus the Somerset field her friend let her wander during lockdown. Trees lend an awareness of time and animals a sense of movement and individuality. Alys Fowler thinks of how the wood she secretly coppices and lays on park paths to combat the mud will long outlive her, disintegrating until it forms the very soil under future generations’ feet.
A favourite passage (from Bradley): “When nature is the cuddly bunny and the friendly old hill, it becomes too easy to dismiss it as a faithful retainer who will never retire. But nature is the panic at the end of a talon, and it’s the tree with a heart of fire where lightning has struck. It is not our friend, and we do not want to make it our enemy.”
Also featured: Bernardine Evaristo (foreword), Raine Geoghegan, Jay Griffiths, Amanda Thomson, and Luke Turner.
With thanks to Hodder & Stoughton for the free copy for review.
Records of an Incitement to Silence by Gregory Woods
Woods is an emeritus professor at Nottingham Trent University, where he was appointed the UK’s first professor of Gay & Lesbian Studies in 1998. Much of his sixth poetry collection is composed of unrhymed sonnets in two stanzas (eight lines, then six). The narrator is often a randy flâneur, wandering a city for homosexual encounters. One assumes this is Woods, except where the voice is identified otherwise, as in “[Walt] Whitman at Timber Creek” (“He gives me leave to roam / my idle way across / his prairies, peaks and canyons, my own America”) and “No Title Yet,” a long, ribald verse about a visitor to a stately home.
Other times the perspective is omniscient, painting a character study, like “Company” (“When he goes home to bed / he dare not go alone. … This need / of company defeats him.”), or of Frank O’Hara in “Up” (“‘What’s up?’ Frank answers with / his most unseemly grin, / ‘The sun, the Dow, my dick,’ / and saunters back to bed.”). Formalists are sure to enjoy Woods’ use of form, rhyme and meter. I enjoyed some of the book’s cheeky moments but had trouble connecting with its overall tone and content. That meant that it felt endless. I also found the end rhymes, when they did appear, over-the-top and silly (Demeter/teeter, etc.).
Two favourite poems: “An Immigrant” (“He turned away / to strip. His anecdotes / were innocent and his / erection smelled of soap.”) and “A Knot,” written for friends’ wedding in 2014 (“make this wedding supper all the sweeter / With choirs of LGBT cherubim”).
With thanks to Carcanet Press for the free copy for review.
Would you be interested in reading one or more of these?
Northumberland Trip, Book Haul, and Reading & 20 Books #9 Emerald
We spent the first 11 days of July on holiday in Northumberland (via stays with friends in York on the way up and back) – our longest spell of vacation since 2016, and our longest UK break since 2013. The trip also happened to coincide with our 14th anniversary. It was a fantastic time of exploring England’s northeast corner, a region new to me. I loved the many different types of landscape, from sandy beaches and rocky coasts and islands to moorland and lovely towns. It’s the county for you if you like castles. We joined the National Trust so we could make stops at lots of stately homes and other historic sites. Some highlights were:
- Cherryburn, the off-the-beaten-track home of engraver Thomas Bewick.
- A cheap and delicious meal of authentic Mexican street food in Hexham, of all places (at Little Mexico).
- Walking along a tiny fraction of Hadrian’s Wall from Housesteads Roman Fort.
- Cragside, the over-the-top home of a Victorian inventor (and the first international arms dealer – whoops), nestled in a plantation of pines and rhododendrons.
- A boat trip to the Farne Islands with a landing on Inner Farne, giving close-up views of puffins, other seabirds, and grey seals. We also sailed past the lighthouse made famous by Grace Darling’s rescue of shipwreck victims in 1838. (Relevant song by Duke Special, by way of a Michael Longley poem.)
- Whiling away a rainy morning in Barter Books, one of Britain’s largest secondhand bookshops (located in an old Victorian railway station), and the charity shops of Alnwick.
- An adventurous (and very wet) walk along the coast to the Dunstanburgh Castle ruin.
- Searching the dunes for rare orchids on Holy Island, followed by a delicious and largely vegan lunch at Pilgrims Coffee House.
- Another seabird-filled boat trip, this one round Coquet Island. Sightings included roseate terns and the Duke of Northumberland.
- Our second Airbnb, The Lonnen (near Rothbury), was a rural idyll shared mostly with sheep and gray wagtails. We were spoiled by Ruth’s excellent interior décor and cooked breakfasts. You can get a feel for the place via her Instagram.
- Coffee and snacks at Corbridge Larder’s Heron Café – so good we made a second trip.
It was also, half unexpectedly, a week filled with book shopping. First up was Forum Books in Corbridge, a lovely independent bookshop. I don’t often buy new books, so enjoyed the splurge here. The Flyn and Taylor were two of my most anticipated releases of 2021. It felt appropriate to pick up a Bloodaxe poetry title as the publisher is based in nearby Hexham.
Next came a bounteous charity shop haul in Hexham.
On the Tuesday we holed up in Barter Books for hours while it rained – and the queue lengthened – outside. I was surprised and delighted that the nine antiquarian books I resold to Barter more than paid for my purchases, leaving me in credit to spend another time (online if, as seems likely, I don’t get back up in person anytime soon).
Alnwick also has a number of charity shops. I had the most luck at the Lions bookshop.
I seemed to keep finding books wherever I went. Kitchen came from a bookshelf in a shop/café on Holy Island. A secondhand/remainders shop near York Minster was the source of the other three.
What I Read:
The holiday involved significant car journeys as Northumberland is a big county with an hour or more between destinations. Alongside my navigating and DJ duties, I got a lot of reading done during the days, as well as in the evenings.
Finished second half or so of:
Phosphorescence by Julia Baird – An intriguing if somewhat scattered hybrid: a self-help memoir with nature themes. Many female-authored nature books I’ve read recently (Wintering, A Still Life, Rooted) have emphasized paying attention and courting a sense of wonder. To cope with recurring abdominal cancer, Baird turned to swimming at the Australian coast and to faith. Indeed, I was surprised by how deeply she delves into Christianity here. She was involved in the campaign for the ordination of women and supports LGBTQ rights.
Open House by Elizabeth Berg – When her husband leaves, Sam goes off the rails in minor and amusing ways: accepting a rotating cast of housemates, taking temp jobs at a laundromat and in telesales, and getting back onto the dating scene. I didn’t find Sam’s voice as fresh and funny as Berg probably thought it is, but this is as readable as any Oprah’s Book Club selection and kept me entertained on the plane ride back from America and the car trip up to York. It’s about finding joy in the everyday and not defining yourself by your relationships.
Site Fidelity by Claire Boyles – I have yet to review this for BookBrowse, but can briefly tell you that it’s a terrific linked short story collection set on the sagebrush steppe of Colorado and featuring several generations of strong women. Boyles explores environmental threats to the area, like fracking, polluted rivers and an endangered bird species, but never with a heavy hand. It’s a different picture than what we usually get of the American West, and the characters shine. The book reminded me most of Love Medicine by Louise Erdrich. 
Every Minute Is a Day by Robert Meyer, MD and Dan Koeppel – The Bronx’s Montefiore Medical Center serves an ethnically diverse community of the working poor. Between March and September 2020, it had 6,000 Covid-19 patients cross the threshold. Nearly 1,000 of them would die. Unfolding in real time, this is an emergency room doctor’s diary as compiled from interviews and correspondence by his journalist cousin. (Coming out on August 3rd. Reviewed for Shelf Awareness.)
Virga by Shin Yu Pai – Yoga and Zen Buddhism are major elements in this tenth collection by a Chinese American poet based in Washington. She reflects on her family history and a friend’s death as well as the process of making art, such as a project of crafting 108 clay reliquary boxes. “The uncarved block,” a standout, contrasts the artist’s vision with the impossibility of perfection. The title refers to a weather phenomenon in which rain never reaches the ground because the air is too hot. (Coming out on August 1st.)
Read most or all of:
The Other Black Girl by Zakiya Dalila Harris – I feel like I’m the last person on Earth to read this buzzy book, so there’s no point recounting the plot, which initially is reminiscent of Luster by Raven Leilani but morphs into its own thing as Nella realizes her rivalry with Hazel, her new Black colleague at Wagner Books, is evidence of a wider social experiment. The prose is hip, bringing to mind Queenie and Such a Fun Age. It was a fun road trip read for me, but I could have done without the silliness of magical hair care products.
Heartstopper, Volume 1 by Alice Oseman – It’s well known at Truham boys’ school that Charlie is gay. Luckily, the bullying has stopped and the others accept him. Nick, who sits next to Charlie in homeroom, even invites him to join the rugby team. Charlie is smitten right away, but it takes longer for Nick, who’s only ever liked girls before, to sort out his feelings. This black-and-white YA graphic novel is pure sweetness, taking me right back to the days of high school crushes. I raced through and placed holds on the other three volumes.
The Vacationers by Emma Straub – Perfect summer reading; perfect holiday reading. Like Jami Attenberg, Straub writes great dysfunctional family novels featuring characters so flawed and real you can’t help but love and laugh at them. Here, Franny and Jim Post borrow a friend’s home in Mallorca for two weeks, hoping sun and relaxation will temper the memory of Jim’s affair. Franny’s gay best friend and his husband, soon to adopt a baby, come along. Amid tennis lessons, swims and gourmet meals, secrets and resentment simmer.
Kitchen by Banana Yoshimoto – A pair of poignant stories of loss and what gets you through. In the title novella, after the death of the grandmother who raised her, Mikage takes refuge with her friend Yuichi and his mother (once father), Eriko, a trans woman who runs a nightclub. Mikage becomes obsessed with cooking: kitchens are her safe place and food her love language. Moonlight Shadow, half the length, repeats the bereavement theme but has a magic realist air as Satsuki meets someone who lets her see her dead boyfriend again.
I also made a good start on a few of my other purchases from the trip: Islands of Abandonment, No Time to Spare, Filthy Animals, and Female Friends.
Alas, most of the in-demand library books I brought along with me – Great Circle by Maggie Shipstead, Malibu Rising by Taylor Jenkins Reid, and Still Life by Sarah Winman – didn’t hit the spot, so I’ve returned them unread and will borrow them at another point later in the year (except Malibu Rising, which felt soapy and insubstantial).
It’s been a struggle getting back into the routines of work and writing since we got back, but I’ve managed to review one more of my 20 Books of Summer. This is #9, slipped in from my Forum Books pile, and I’m currently working on books #10–13.
Emerald by Ruth Padel (2018)
This was my 11th book from Padel; I’ve read a mixture of her poetry, fiction, narrative nonfiction and poetry criticism. Emerald consists mostly of poems in memory of her mother, Hilda, who died in 2017 at the age of 97. The book pivots on her mother’s death, remembering the before (family stories, her little ways, moving her into sheltered accommodation when she was 91, sitting vigil at her deathbed) and the letdown of after. It made a good follow-on to one I reviewed last month, Kate Mosse’s An Extra Pair of Hands.
Emerald, the hue and the gemstone, recurs frequently in ornate imagery of verdant outdoor scenes and expensive art objects. Two favourites were travel-based: “Jaipur,” about the emerald-cutters of India, where Padel guiltily flew while her mother was ill; and “Salon Noir,” about a trip down into prehistoric caves of France the summer after Hilda’s death. Overall, I expected the book to resonate with me more than it did. The bereavement narrative never broke through to touch me; it remained behind a silk screen of manners and form.
Two favourite stanzas:
“Your voice is your breath.
The first thing that’s yours
and the last.” (from “Fragile as Breath”)
“that’s all of us
sifting the dark
in our anonymities and hope.” (from “Above is the Same as Below”)
My rating:
Next books in progress: The Glitter in the Green by Jon Dunn and Nothing but Blue Sky by Kathleen MacMahon
The Best Books from the First Half of 2021
Hard to believe we’ve already crossed the midpoint of the year. My top 20 releases of 2021 thus far, in alphabetical order within genre (fiction is dominating this year!), are below. I link to those I’ve already reviewed in full here or on Goodreads:
Fiction
Under the Blue by Oana Aristide: Fans of Station Eleven, this one’s for you: the best dystopian novel I’ve read since Mandel’s. Aristide started writing in 2017, and unknowingly predicted a much worse pandemic than Covid-19. In July 2020, Harry and sisters Ash and Jessie are among mere thousands of survivors worldwide. Their plan is to flee England for Uganda, out of range of Europe’s at-risk nuclear reactors. An epic road trip ensues. A propulsive cautionary tale that also reminded me of work by Louisa Hall and Maja Lunde.
The Push by Ashley Audrain: Blythe Connor, living alone with her memories, ponders what went wrong with her seemingly perfect family: a handsome architect husband, Fox, and their daughter Violet and baby son Sam. How much of what happened was because of Violet’s nature, and how much was Blythe’s fault for failing to be the mother the girl needed? The fact that her experience with Sam was completely different makes her feel ambivalent about motherhood. A cracking psychological thriller with an unreliable narrator.
A Lie Someone Told You About Yourself by Peter Ho Davies: Davies’ minimalist approach – short sections skating over the months and years, wryly pulling out representative moment – crystallizes fatherhood, illuminating its daily heartaches and joys. The tone is just right in this novella, showing both sides of parenthood and voicing things you aren’t allowed to think, or at least not to admit to, starting with abortion, which would-be fathers aren’t expected to have strong feelings about. I loved the rumination on the role that chance plays in a life.
The Living Sea of Waking Dreams by Richard Flanagan: Extinction, personal and global, is at the heart of this timely and enchanting story. It starts off as a family drama. Francie, the 86-year-old matriarch, is in a Tasmanian hospital after a brain bleed. Her three middle-aged children can’t bear to let her go. In an Australia blighted by bushfires, species loss mirrors Francie’s physical and mental crumbling. Smartphone addiction threatens meaningful connection. And then characters start to literally disappear, part by part…
Mrs Death Misses Death by Salena Godden: Grief Is the Thing with Feathers meets Girl, Woman, Other would be my marketing shorthand for this one. Poet Salena Godden’s debut novel is a fresh and fizzing work, passionate about exposing injustice but also about celebrating simple joys, and in the end it’s wholly life-affirming despite a narrative stuffed full of deaths real and imagined. The novel balances the cosmic and the personal through Wolf’s family story. Unusual, musical, and a real pleasure to read.
Early Morning Riser by Katherine Heiny: This tickled my funny bone. A cross between Kitchens of the Great Midwest and Olive Kitteridge, it’s built of five extended episodes, crossing nearly two decades in the lives of Jane and Duncan and lovingly portraying the hangers-on who compose their unusual family constellation in Boyne City, Michigan. All the characters are incorrigible but wonderful. Bad things happen, but there’s a core of love as Heiny explores marriage and parenting. A good-natured book that feels wise and bittersweet.
No One Is Talking About This by Patricia Lockwood: This starts as a flippant skewering of modern life. A woman who became a social media star by tweeting quips like “Can a dog be twins?” reflects on life on “the portal” and under “the dictator.” Midway through the book, she gets a wake-up call when her mother summons her back to the Midwest for a family emergency. It’s the about-face that makes this novel, forcing readers to question the value of a digital existence based on glib pretence. Funny, but with an ache behind it.
In by Will McPhail: Alternately laugh-out-loud funny and gentle. This debut graphic novel is a spot-on picture of modern life in a generic city. Nick never knows the right thing to say. The bachelor artist’s well-intentioned thoughts remain unvoiced; all he can manage is small talk. That starts to change when he meets Wren, a Black doctor who sees past his pretence. If only he can find the magic words that elicit honesty, he might make real connections with other human beings. A good old-fashioned story, with a wide emotional range.
Detransition, Baby by Torrey Peters: A sparkling, sexy comedy with a tender heart beneath the zingers. Peters has set herself up as the Jane Austen of the trans community, tracing the ins and outs of relationships with verve and nuance. For me this was a valuable book simply for normalizing trans sexuality. The themes are universal, after all: figuring out who you are and what the shape of your life will be. I admire when authors don’t pander to readers by making things easy for those who are unfamiliar with a culture. Great lines abound.
Brood by Jackie Polzin: Polzin’s debut is a quietly touching story of a woman in the Midwest raising chickens and coming to terms with the shape of her life. The unnamed narrator is Everywoman and no one at the same time. At one point she reveals, with no fanfare, that she miscarried four months into pregnancy in the bathroom of one of the houses she cleans. There is a bittersweet tone to this short work. It’s a low-key, genuine portrait of life in the in-between stages and how it can be affected by fate or by other people’s decisions.
Nonfiction
The Circling Sky by Neil Ansell: Hoping to reclaim an ancestral connection, Ansell visited the New Forest some 30 times between January 2019 and January 2020, observing the unfolding seasons and the many uncommon and endemic species its miles house. He weaves together his personal story, the shocking history of forced Gypsy relocation into forest compounds starting in the 1920s, and the unfairness of land ownership in Britain. The New Forest is a model of both wildlife-friendly land management and freedom of human access.
The Inevitable by Katie Engelhart: Engelhart spends time with doctors and patients who are caught up in the assisted dying argument, chiefly in Western Europe and the United States. Each case is given its own long chapter, like an extended magazine profile. The stories are wrenching, but compassionately told. The author explores the nuances of each situation, crafting expert portraits of suffering people and the medical professionals who seek to help them, and adding much in the way of valuable context. A voice of reason and empathy.
The Screaming Sky by Charles Foster: A Renaissance man as well versed in law and theology as he is in natural history, Foster is obsessed with swifts and ashamed of his own species: for looking down at their feet when they could be watching the skies; for the “pathological tidiness” that leaves birds and other creatures no place to live. He delivers heaps of information on the birds but refuses to stick to a just-the-facts approach. The book quotes frequently from poetry and the prose is full of sharp turns of phrase and whimsy.
Intensive Care by Gavin Francis: Francis, an Edinburgh physician, reflects on “the most intense months I have known in my twenty-year career.” He journeys back through 2020, from the January day when he received a bulletin about a “novel Wuhan coronavirus” to November, when he learned of promising vaccine trials but also a rumored third wave and winter lockdown. An absorbing first-hand account of a medical crisis, it compassionately bridges the gap between experts and laymen. The best Covid chronicle so far.
A Still Life by Josie George: Over a year of lockdowns, many of us became accustomed to spending most of the time at home. But for Josie George, social isolation is nothing new. Chronic illness long ago reduced her territory to her home and garden. The magic of A Still Life is in how she finds joy and purpose despite extreme limitations. Opening on New Year’s Day and travelling from one winter to the next, the book is a window onto George’s quiet existence as well as the turning of the seasons. (Reviewed for TLS.)
Dusk, Night, Dawn by Anne Lamott: Lamott’s best new essays in nearly a decade. The central theme is how to have hope in God and in other people even when the news – Trump, Covid, and climate breakdown – only heralds the worst. One key thing that has changed for her is getting married for the first time, in her mid-sixties, to a Buddhist. In thinking of marriage, she writes about friendship, constancy, and forgiveness, none of which comes easy. Opportunities for maintaining quiet faith in spite of the circumstances arise all the time.
A Braided Heart by Brenda Miller: Miller, a professor of creative writing, delivers a master class on the composition and appreciation of autobiographical essays. In 18 concise pieces, she tracks her development as a writer and discusses the “lyric essay”—a form as old as Seneca that prioritizes imagery over narrative. These innovative and introspective essays, ideal for fans of Anne Fadiman, showcase the interplay of structure and content. (Coming out on July 13th from the University of Michigan Press. My first review for Shelf Awareness.)
Sanctuary by Emily Rapp Black: A continuation of The Still Point of the Turning World, about the author’s son Ronan, who died of Tay-Sachs disease at age three. In the months surrounding his death, she split from her husband and raced into another relationship that led to her daughter, Charlie. Rapp Black questions the sorts of words she got branded with: “brave,” “resilient.” Sanctuary is full of allusions and flashbacks, threading life’s disparate parts into a chaotic tapestry. It’s measured and wrought, taming fire into light and warmth.
Poetry
Pilgrim Bell by Kaveh Akbar: An Iranian American poet imparts the experience of being torn between cultures and languages, as well as between religion and doubt, in this gorgeous collection of confessional verse. Food, plants, animals, and the body supply the book’s imagery. Wordplay and startling juxtapositions lend lightness to a wistful, intimate collection that seeks belonging and belief. (Coming out on August 3rd from Graywolf Press. Reviewed for Shelf Awareness.)
Eat or We Both Starve by Victoria Kennefick: In this audacious debut collection, the body is presented as a battleground: for the brain cancer that takes the poet’s father; for disordered eating that entwines with mummy issues; for the restructuring of pregnancy. Families break apart and fuse into new formations. Cannibalism and famine metaphors dredge up emotional states and religious doctrines. There’s a pleasingly morbid cast to the book, but it also has its lighter moments. Rich with imagery and alliteration, this is just my kind of poetry.
What are some of the best books you’ve read so far this year?
What 2021 releases do I need to catch up on right away?
Three May Graphic Novel Releases: Orwell, In, and Coma
These three terrific graphic novels all have one-word titles and were published on the 13th of May. Outwardly, they are very different: a biography of a famous English writer, the story of an artist looking for authentic connections, and a memoir of a medical crisis that had permanent consequences. The drawing styles are varied as well. But if the books share one thing, it’s an engagement with loneliness: It’s tempting to see the self as being pitted against the world, with illness an additional isolating force, but family, friends and compatriots are there to help us feel less alone and like we are a part of something constructive.
Orwell by Pierre Christin; illustrated by Sébastien Verdier
[Translated from the French by Edward Gauvin]
George Orwell was born Eric Blair in Bengal, where his father worked for the colonial government. As a boy, he loved science fiction and knew that he would become a writer. He had an unhappy time at prep school, where he was on reduced fees, and proceeded to Eton and then police training in Burma. Already he felt that “imperialism was an evil thing.” Among this book’s black-and-white panes, the splashes of colour – blood, a British flag – stand out, and guest artists contribute a two-page colour spread each, illustrating scenes from Orwell’s major works. His pen name commemorates a local river and England’s patron saint, marking his preoccupation with the essence of Englishness: something deeper than his hated militarism and capitalism. Even when he tried to ‘go native’ for embedded journalism (Down and Out in Paris and London and The Road to Wigan Pier), his accent marked him out as posh. He was opinionated and set out “rules” for clear writing and the proper making of tea.
The book’s settings range from Spain, where Orwell went to fight in the Civil War, via a bomb shelter in London’s Underground, to the island of Jura, where he retired after the war. I particularly loved the Scottish scenery. I also appreciated the notes on where his life story entered into his fiction (especially in A Clergyman’s Daughter and Keep the Aspidistra Flying). During World War II he joined the Home Guard and contributed to BBC broadcasting alongside T.S. Eliot. He had married Eileen, adopted a baby boy, and set up a smallholding. Even when hospitalized for tuberculosis, he wouldn’t stop typing (or smoking).
Christin creates just enough scenes to give a sense of the sweep of Orwell’s life, and incorporates plenty of the author’s own words in a typewriter font. He recognizes all the many aspects, sometimes contradictory, of his subject’s life. And in an afterword, he makes a strong case for Orwell’s ideas being more important now than ever before. My knowledge of Orwell’s oeuvre, apart from the ones everyone has read – Animal Farm and 1984 – is limited; luckily this is suited not just to Orwell fans but to devotees of life stories of any kind.
With thanks to SelfMadeHero for the free copy for review.
In by Will McPhail
Nick never knows the right thing to say. The bachelor artist’s well-intentioned thoughts remain unvoiced, such that all he can manage is small talk. Whether he’s on a subway train, interacting with his mom and sister, or sitting in a bar with a tongue-in-cheek name (like “Your Friends Have Kids” or “Gentrificchiato”), he’s conscious of being the clichéd guy who’s too clueless or pathetic to make a real connection with another human being. That starts to change when he meets Wren, a Black doctor who instantly sees past all his pretence.
Like Orwell, In makes strategic use of colour spreads. “Say something that matters,” Nick scolds himself, and on the rare occasions when he does figure out what to say or ask – the magic words that elicit an honest response – it’s as if a new world opens up. These full-colour breakthrough scenes are like dream sequences, filled with symbols such as a waterfall, icy cliff, or half-submerged building with classical façade. Each is heralded by a close-up image on the other person’s eyes: being literally close enough to see their eye colour means being metaphorically close enough to be let in. Nick achieves these moments with everyone from the plumber to his four-year-old nephew.
Alternately laugh-out-loud funny and tender, McPhail’s debut novel is as hip as it is genuine. It’s a spot-on picture of modern life in a generic city. I especially loved the few pages when Nick is on a Zoom call with carefully ironed shirt but no trousers and the potential employers on the other end get so lost in their own jargon that they forget he’s there. His banter with Wren or with his sister reveals a lot about these characters, but there’s also an amazing 12-page wordless sequence late on that conveys so much. While I’d recommend this to readers of Alison Bechdel, Craig Thompson, and Chris Ware (and expect it to have a lot in common with Kristen Radtke’s forthcoming Seek You: A Journey through American Loneliness), it’s perfect for those brand new to graphic novels, too – a good old-fashioned story, with all the emotional range of Writers & Lovers. I hope it’ll be a wildcard entry on the Sunday Times Young Writer of the Year Award shortlist.
With thanks to Sceptre for the free copy for review.
Coma by Zara Slattery
In May 2013, Zara Slattery’s life changed forever. What started as a nagging sore throat developed into a potentially deadly infection called necrotising fascitis. She spent 15 days in a medically induced coma and woke up to find that one of her legs had been amputated. As in Orwell and In, colour is used to differentiate different realms. Monochrome sketches in thick crayon illustrate her husband Dan’s diary of the everyday life that kept going while she was in hospital, yet it’s the coma/fantasy pages in vibrant blues, reds and gold that feel more real.
Slattery remembers, or perhaps imagines, being surrounded by nightmarish skulls and menacing animals. She feels accused and guilty, like she has to justify her continued existence. In one moment she’s a puppet; in another she’s in ancient China, her fate being decided for her. Some of the watery landscapes and specific images here happen to echo those in McPhail’s novel: a splash park, a sunken theatre; a statue on a plinth. There’s also a giant that reminded me a lot of one of the monsters in Spirited Away.
Meanwhile, Dan was holding down the fort, completing domestic tasks and reassuring their three children. Relatives came to stay; neighbours brought food, ran errands, and gave him lifts to the hospital. He addresses the diary directly to Zara as a record of the time she spent away from home and acknowledges that he doesn’t know if she’ll come back to them. A final letter from Zara’s nurse reveals how bad off she was, maybe more so than Dan was aware.
This must have been such a distressing time to revisit. In this interview, Slattery talks about the courage it took to read Dan’s diary even years after the fact. I admired how the book’s contrasting drawing styles recreate her locked-in mental state and her family’s weeks of waiting – both parties in limbo, wondering what will come next.
Brighton, where Slattery is based, is a hotspot of the Graphic Medicine movement spearheaded by Ian Williams (author of The Lady Doctor). Regular readers know how much I love health narratives, and with my keenness for graphic novels this series couldn’t be better suited to my interests.
With thanks to Myriad Editions for the free copy for review.
Bookish Beck = Rebecca Foster. American transplant to England. Freelance proofreader and book reviewer.
Bookish Beck 