#ReadIndies and Review Catch-up: Hazrat, Nettel, Peacock, Seldon
Another four selections for Read Indies month. I’m particularly pleased that two from this latest batch are “just because” books that I picked up off my shelves; another two are catch-up review copies. A few more indie titles will appear in my February roundup on Tuesday. For today, I have a fun variety: a history of the exclamation point, a Mexican novel about choosing motherhood versus being childfree, a memoir of a decades-long friendship between two poets, and a posthumous poetry collection with themes of history, illness and nature.
An Admirable Point: A brief history of the exclamation mark by Florence Hazrat (2022)
I’m definitely a punctuation geek. (My favourite punctuation mark is the semicolon, and there’s a book about it, too: Semicolon: The Past, Present, and Future of a Misunderstood Mark by Cecelia Watson, which I have on my Kindle.) One might think that strings of exclamation points are a pretty new thing – rounding off phrases in (ex-)presidential tweets, for instance – but, in fact, Hazrat opens with a Boston Gazette headline from 1788 that decried “CORRUPTION AND BRIBERY!!!” in relation to the adoption of the new Constitution.
The exclamation mark as we know it has been around since 1399, and by the 16th century its use for expression and emphasis had been codified. I was reminded of Gretchen McCulloch’s discussion of emoji in Because Internet, which also considers how written speech signifies tone, especially in the digital age. There have been various proposals for other “intonation points” over the centuries, but the question mark and exclamation mark are the two that have stuck. (Though I’m currently listening to an album called interrobang – ‽, that is. Invented by Martin Speckter in 1962; recorded by Switchfoot in 2021.)
I most enjoyed Chapter 3, on punctuation in literature. Jane Austen’s original manuscripts, replete with dashes, ampersands and exclamation points, were tidied up considerably before they made it into book form. She’s literature’s third most liberal user of exclamation marks, in terms of the number per 100,000 words, according to a chart Ben Blatt drew up in 2017, topped only by Tom Wolfe and James Joyce.
There are also sections on the use of exclamation points in propaganda and political campaigns – in conjunction with fonts, which brought to mind Simon Garfield’s Just My Type and the graphic novel ABC of Typography. It might seem to have a niche subject, but at just over 150 pages this is a cheery and diverting read for word nerds.
With thanks to Profile Books for the proof copy for review.
Still Born by Guadalupe Nettel (2020; 2022)
[Translated from the Spanish by Rosalind Harvey]
This was the Mexican author’s fourth novel; she’s also a magazine director and has published several short story collections. I’d liken it to a cross between Motherhood by Sheila Heti and (the second half of) No One Is Talking About This by Patricia Lockwood. Thirtysomething friends Laura and Alina veer off in different directions, yet end up finding themselves in similar ethical dilemmas. Laura, who narrates, is adamant that she doesn’t want children, and follows through with sterilization. However, when she becomes enmeshed in a situation with her neighbours – Doris, who’s been left by her abusive husband, and her troubled son Nicolás – she understands some of the emotional burden of motherhood. Even the pigeon nest she watches on her balcony presents a sort of morality play about parenthood.
Meanwhile, Alina and her partner Aurelio embark on infertility treatment. Laura fears losing her friend: “Alina was about to disappear and join the sect of mothers, those creatures with no life of their own who, zombie-like, with huge bags under their eyes, lugged prams around the streets of the city.” They eventually have a daughter, Inés, but learn before her birth that brain defects may cause her to die in infancy or be severely disabled. Right from the start, Alina is conflicted. Will she cling to Inés no matter her condition, or let her go? And with various unhealthy coping mechanisms to hand, will her relationship with Aurelio stay the course?
Laura alternates between her life and her friends’ circumstances, taking on an omniscient voice on Nettel’s behalf – she recounts details she couldn’t possibly be privy to, at least not at the time (there’s a similar strategy in The Group by Lara Feigel). The question of what is fated versus what is chosen, also represented by Laura’s interest in tarot and palm-reading, always appeals to me. This was a wry and sharp commentary on women’s options. (Giveaway win from Bookish Chat on Twitter)
Still Born was published by Fitzcarraldo Editions in the UK and is forthcoming from Bloomsbury in the USA on August 8th.
A Friend Sails in on a Poem by Molly Peacock (2022)
I’ve read one of Peacock’s poetry collections, The Analyst, as well as her biography of Mary Delany, The Paper Garden. I was delighted when she got in touch to offer a review copy of her latest memoir, which reflects on her nearly half a century of friendship with fellow poet Phillis Levin. They met in a Johns Hopkins University writing seminar in 1976, and ever since have shared their work in progress over meals. They are seven years apart in age and their careers took different routes – Peacock headed up the Poetry Society of America’s subway poetry project and then moved to Toronto, while Levin taught at the University of Maryland – but over the years they developed “a sense of trust that really does feel familial … There is a weird way, in our conversations about poetry, that we share a single soul.” For a time they were both based in New York City and had the same therapist; more recently, they arranged annual summer poetry retreats in Cazenovia (recalled via diary entries), with just the two attendees. Jobs and lovers came and went, but their bond has endured.
The book traces their lives but also their development as poets, through examples of their verse. Her friend is “Phillis” in real life, but “Levin” when it’s her work is being discussed – and her own poems are as written by “Peacock.” Both women became devoted to the sonnet, an unusual choice because at the time that they were graduate students free verse reigned and form was something one had to learn on one’s own time. Stanza means “room,” Peacock reminds readers, and she believes there is something about form that opens up space, almost literally but certainly metaphorically, to re-examine experience. She repeatedly tracks how traumatic childhood events, as much as everyday observations, were transmuted into her poetry. Levin did so, too, but with an opposite approach: intellectual and universal where Peacock was carnal and personal. That paradox of difference yet likeness is the essence of the friendships we sail on. What a lovely read, especially if you’re curious about ‘where poems come from’; I’d particularly recommend it to fans of Ann Patchett’s Truth and Beauty.
With thanks to Molly Peacock and Palimpsest Press for the free e-copy for review.
The Bright White Tree by Joanna Seldon (Worple Press, 2017)
This appeared the year after Seldon died of cancer; were it not for her untimely end and her famous husband Anthony (a historian and political biographer), I’m not sure it would have been published, as the poetry is fairly mediocre, with some obvious rhymes and twee sentiments. I wouldn’t want to speak ill of the dead, though, so think of this more like a self-published work collected in tribute, and then no problem. Some of the poems were written from the Royal Marsden Hospital, with “Advice” a useful rundown of how to be there for a friend undergoing cancer treatment (text to let them know you’re thinking of them; check before calling, or visiting briefly; bring sanctioned snacks; don’t be afraid to ask after their health).
Seldon takes inspiration from history (the story of Kitty Pakenham, the bombing of the Bamiyan Buddhas), travels in England and abroad (“Robin in York” vs. “Tuscan Garden”), and family history. Her Jewish heritage is clear from poems about Israel, National Holocaust Memorial Day and Rosh Hashanah. Her own suffering is put into perspective in “A Cancer Patient Visits Auschwitz.” There are also ekphrastic responses to art and literature (a Gaugin, A Winter’s Tale, Jane Eyre, and so on). I particularly liked “Conker,” a reminder of a departed loved one “So is a good life packed full of doing / That may grow warm with others, even when / The many years have turned, and darkness filled / Places where memory shone bright and strong. / I feel the conker and feel he is here.” (New bargain book from Waterstones online sale with Christmas book token)
There are haikus dotted through the collection; here’s one perfect for the season:
Maids demure, white tips to
Mob caps… Look now! They’ve
Splattered the lawn with snow
Have you discovered any new-to-you independent publishers recently?
Reading Across the Seasons: England in All Weathers
Recently, I toured multiple seasons via these three pleasantly meandering books for Anglophiles. All:
Orchard by Benedict Macdonald and Nicholas Gates (2020)
Bristol friends and BBC colleagues Ben Macdonald and Nick Gates set out to chronicle a year in the life of a traditional Herefordshire orchard that has been managed differently from the industrial norm. Operations are designed to maximize wildlife as well as production, so the orchard has become a bastion for birds and insects. After a brief history of apple cultivation and orchard design, it’s straight into a month-by-month rundown of what can be seen and heard on this particular patch. For the most part, the co-authors trade off chapters. They observe and describe the kinds of behaviours that most of us never get to see. A central section of remarkable photographs, some of them by the authors, illustrates the year as vividly as the passionate prose. (See my full review at Shiny New Books.)
With thanks to William Collins for the free copy for review.
Light Rains Sometimes Fall by Lev Parikian (2021)
It was only 2018 that I read Why Do Birds Suddenly Disappear? but since then we’ve had another three books from Lev Parikian. It’s now hard to imagine a year without one of his genial nature books. Here he adapts Japan’s famous 72 microseasons to an English year, with every five days or so taking on a slightly different character and welcoming in the subtle changes that add up to big ones. Given the Japanese inspiration, it’s appropriate that his entries sometimes read like haikus. Here’s one from the start of 2–7 September: “The streets. Rumble of traffic. Gentle wind in trees. Soft chrrr of blue tit. Furious cawing, stage left.”
Parikian’s patch is South London, specifically his local cemetery – which, since the book starts in February 2020, was closed off to him for a short time a month later when the first UK lockdown hit. This only served to increase his appreciation for the place when it reopened. (Cemeteries are amazing places for wildlife in general, especially the more park-like ones: I can remember seeing muntjac at Cemetery Junction in Reading, and red-tailed hawks perched in the trees in Mount Auburn Cemetery in Cambridge, Massachusetts.) Here, his star sighting was an occasional peregrine on the church tower.
The idea behind this book of mini nature essays is to try to see things again as if for the first time. In the pandemic year, he finds that time is elastic: it seems both fast and slow, and paying close attention is a way of valuing nature and experience. After all, as Parikian quotes from Confucius, “Everything has beauty, but not everyone can see it.” This reminded me particularly of Birdsong in a Time of Silence, but the tone is refreshingly light, as readers will have come to expect of Parikian.
Controversially, because I picked this up in September, I started reading it from the first September chapter, carried on to the end and then began again at the beginning and caught myself up, a strategy I have only ever taken with Mark Cocker’s Claxton (another month-by-month nature diary-type narrative) before. Initially, it was a nice way of following along with the seasons. I kept this as a bedside book and would read a chapter before bed. Most of us live in cities or suburbs, so I particularly appreciated the enthusiastic advocacy for the value of urban spaces for nature. I recommend this one for reading your way slowly and attentively through the seasons.
With thanks to Elliott & Thompson for the proof copy for review.
England for All Seasons by Susan Allen Toth (1997)
A reread. As I was getting ready to go overseas for the first time in the summer of 2003, Toth’s trilogy of memoirs whetted my appetite for travel in Britain. (They’re on my Landmark Books in My Life, Part II list.) I loved how warmly she invites readers to join her itineraries and shares tips for lesser-known destinations.
This was her third set of England essays, prompted by a question she frequently got from friends and readers: when is the best time to go? Her answer would be to go whenever you can, as often as you can, because rain can be delightful and in the off season you’ll have special places to yourself. I can see that I have this book to thank for the memorable Cornwall vacation I had with my mom and sister in April 2004, midway through my study abroad year: two of the sites she highlights here, St. Ives and the seal sanctuary at Gweek (part of the “Touring England’s Ark” chapter) were among our chosen stops.
Toth is a particular fan of gardens and literary sites, but loves London museums and theatres as much as windswept coastal and island scenery. When in England she lets herself sample multiple desserts from the sweet trolley, fill her suitcase with secondhand books, and pepper her speech with exclamations of “Lovely!” and “Brilliant!” I was relieved to be reminded of her suggested one-hour time limit for any museum – “depart without guilt, as soon as your eyes droop or your feet hurt or your heavy shoulder bag sinks to the floor. When you begin wondering if it is too early for lunch, head for the door.” (I poop out at museums very quickly.) The practical information she includes at the end of each chapter is probably entirely out of date, but her ideas are solid, and a quick web search will update any details.
The final essay, “Travel Time,” perfectly captures the holiday spirit: “Because our travel time is so densely filled, with intense if often quiet experiences, I am always astonished at what has happened—or rather, what has not happened—when we return home. After two weeks of living so vividly, newness in each hour, I feel as if I must have changed in significant ways.” (Free from The Book Thing of Baltimore)
Review Book Catch-Up: Bamforth, McGrath, Mertz
Today I have a book of medico-philosophical musings, a triptych of novels about the resonant moments of a Canadian childhood, and a varied collection of ekphrastic poems.
Scattered Limbs: A Medical Dreambook by Iain Bamforth (2020)
A doctor based in Strasbourg, Iain Bamforth offers a commonplace book full of philosophical musings on medicine and wellness from the ancient world to today. All through December I would read just a few pages at a time as a palate cleanser between larger chunks of other books. Most of the entries are under three pages in length, with some one-sentence dictums interspersed. The point of reference is broadly European, with frequent allusions to English, French, and German literature (Charles Dickens, Marcel Proust, and Thomas Mann) and to Greek thinkers like Aristotle and Plato. The themes include memory, overtreatment, technology, and our modern wellness culture. If you’re equally interested in medicine and philosophy, this is a perfect bedside book for you; if you only gravitate towards one or the other, it’s possible that you could run low on patience for the high-brow rumination. My favourite piece was on “panicology,” and two stand-out lines are below.
“Prognostication is where writers and doctors resemble each other most.”
“A proper attitude to death can be a source of life. That is medicine’s only profundity.”
With thanks to Galileo Publishers for the free copy for review.
The Santa Rosa Trilogy by Wendy McGrath (2011–19)
I’m indulging in one last listen to our holiday music compilations as I write, before putting everything away until a hoped-for ‘Christmas in July’ with family and friends. Yesterday I devoured Broke City, the third novella in Wendy McGrath’s Santa Rosa Trilogy, in one sitting and treasured all the Christmas and pine tree references: they bind the book together but also connect it satisfyingly back to Book 1, Santa Rosa, which opened with Christine’s neighbour preparing a Christmas cake one summer. That annual ritual and its built-in waiting period take on new significance when the adult Christine’s life changes suddenly.
In this trio of linked narratives about Christine’s 1960s Edmonton childhood, totem objects and smells evoke memories that persist for decades: Pine-Sol, her parents’ cigarettes, the local meat-packing plant. Even at age seven, Christine is making synaesthetic links between colours and scents as she ponders language and imagines other lives. That her recollections – of a carnival, the neighbourhood grocery store, queasy road trips to her grandmother’s in Saskatchewan, a drive-in movie, and Christmas Eve with her father’s side of the family – so overlap with my late-1980s mental flipbook proves not that suburban Maryland and upstate New York (where I grew up and my mother’s home turf, respectively) are so similar to Alberta, but that this is the universal stuff of a later 20th-century North American childhood.
The other night, discussing The Light Years by Elizabeth Jane Howard, my book club noted how difficult it is to capture childhood in all its joy and distress. McGrath does so superbly, exploiting the dramatic irony between what Christine overhears and what she understands. Readers know her parents’ marriage is in trouble because she never sees them laughing or happy, and she hears her mother complain to her father about his drinking. We know the family is struggling because a man from the City delivers a box of Spam, standard issue to all those who are out of work over the winter. A simple mishearing (“clatteral,” “brain tuber”; thinking that an abattoir sounds “like a fancy ballroom”) can be a perfect example of the child perspective, too. Meanwhile, the pop culture references situate the story in the time period.
Towards the end of Broke City, young Christine declares, “I shall be unusual.” As we root for the girl to outrun her sadder memories and forge a good life, we hope that – like all of us – she’ll find a balance between the ordinary and the exceptional through self-knowledge. While Broke City was my favourite and could probably stand alone, it’s special to chart how moments turn into memories across the three books. I’d recommend the trilogy to readers of Tove Ditlevsen, Tessa Hadley, and Elizabeth Hay. I particularly loved the hybrid-poetry style of the Prologue to Santa Rosa (similar to what Bernardine Evaristo employs), so I would also be interested to try one of McGrath’s two poetry collections.
Some favourite passages:
“he walks at the same time everyday summer and winter
early morning when the day still makes promises” (Santa Rosa)
“Christine thought of herself as a child, with no idea of the world but all the ideas in the world. … Christine is the girl that used to live here, but the girl has disappeared. Her ghost is here, existing parallel to the person she is now. How did this happen? There must have been something she wasn’t paying attention to, something she didn’t see coming.” (Broke City)
With thanks to Wendy McGrath and Edmonton’s NeWest Press for the e-copies for review. I learned about the books from Marcie; see her appreciation of McGrath’s work at Buried in Print.
Color and Line by Carole Mertz (2021)
“Ekphrastic” was a new vocabulary word for me – or, if I’d heard it before, I needed a reminder. It refers to poetry written to describe or respond to artworks. Many of Carole Mertz’s poems, especially in the first section, attest to her love of the visual arts. This is the Ohio church organist’s first full-length collection after the 2019 chapbook Toward a Peeping Sunrise and extensive publication in literary magazines. She was inspired by art ranging in date from 1555 to 2019. “Come Share a Glass with Me,” for instance, is a prose poem that imagines the story behind a Van Gogh. I loved the line “The ewer sits expectant” in a short poem capturing The Staircase by Xavier Mellery.
One could look up all of the artworks discussed, but the descriptions here are so richly detailed that I often didn’t feel I needed to. Two paintings in a row depict sisters. A poem about Salome and the beheading of John the Baptist draws on the Bible story, but also on its many portrayals through art history. Other topics include concern for the Earth and beloved works of literature. I particularly enjoyed “The Word in Joseph’s Hand,” a Christmas hymn that can be sung to the tune of “Lo, How a Rose E’er Blooming,” and a haiku about a cardinal, “a flash of bright red / … in the garden”. Below is my favourite of the poems; it incorporates the titles of 14 books, nine of them by Anne Tyler. See if you can spot them all!
Color and Line was released by Kelsay Books on the 2nd. My thanks to Carole Mertz for the e-copy for review.
Would you be interested in reading one or more of these?
And, just for fun, put a description of or link to your favourite Bernie-in-mittens meme in the comments.
Women in Translation Month 2019, Part I: Ernaux and Poschmann
Two rather different books to start off #WITMonth: a brief (c. 70 pp.) account of a mother’s decline with dementia; and a haiku-inspired novel of the quest for life and death in disorienting modern Japan. Both are admirable but detached – a judgment I seem more likely to make about work in translation – so don’t earn my wholehearted recommendation. My rating for both:
I Remain in Darkness by Annie Ernaux (1997; English translation, 1999)
[Translated from the French by Tanya Leslie]
This is the second short, somewhat harrowing autobiographical work I’ve read by Ernaux this year (after Happening, her account of her abortion, in March). A collection of mostly present-tense fragments, it’s drawn from the journal she kept during her mother’s final years, 1983–6. “I Remain in Darkness” were the last words her mother wrote, in a letter to a friend (“Je ne suis pas sortie de ma nuit,” which more literally means “I have not left my night,” strikes me as cryptic and poetic, though maybe I’m missing a colloquialism). Slipping into Alzheimer’s, her mother spent these years in a long-term hospital geriatric ward. Ernaux could see her mother becoming like a child again:
This morning she got up and, in a timid voice, said: ‘I wet the bed. I couldn’t help it.’ The same words I would use when I was a child.
Now her room is on the third floor. A bunch of women circle us, addressing my mother with the familiar tu form: ‘You’re going to be in our group?’ They are like kids talking to the ‘new girl’ at school. When I take leave of her, she looks at me in panic and confusion: ‘You’re not leaving, are you?’
—and herself becoming like her mother: “It’s crystal-clear: she is me in old age and I can see the deterioration of her body threatening to take hold of me – the wrinkles on her legs, the creases in her neck”. Ernaux vacillates between guilt, fear and cruelty in how she approaches her mother. She tenderly shaves the older woman’s face every week when she visits, and buys her all manner of sweets. Food is one of her mother’s last remaining pleasures, though she often misses her mouth when she tries to eat the cakes her daughter brings.
Superficially, this is very similar to another book I’ve reviewed this year, Be With by Mike Barnes, a series of short letters written during his time as a caregiver to his mother, who also has Alzheimer’s. But where Barnes is reassuring and even humorous at times, Ernaux refuses to give any comfort, false or otherwise. This hospital is a bleak place that reeks of urine and is hiding excrement everywhere (really). A lazier reviewer than I generally try to be would brandish the word “unflinching.”
The entries from a few days after her mother’s death explain what the author is trying to do with her work, whether memoir or autofiction: “I am incapable of producing books that are not precisely that – an attempt to salvage part of our lives, to understand, but first to salvage … I’ll have to tell her story in order to ‘distance myself from it’.” That dual purpose, saving and distancing, makes her work honest yet unemotional, such that I have trouble warming to it.
This is easily read in a sitting. I may try again to get into Ernaux’s novel The Years, which, like the Poschmann (below), was on this past year’s Man Booker International Prize shortlist.
I Remain in Darkness will be released on September 18th. With thanks to Fitzcarraldo Editions for the free copy for review.
The Pine Islands by Marion Poschmann (2017; English translation, 2018)
[Translated from the German by Jen Calleja]
(Though I read this mostly in July, I finished it on August 1st, so I’m including it in my WIT Month coverage. It’s the first of the author’s books to be made available in English.)
A man wakes up from a dream convinced that his wife is cheating on him, and sets off for Tokyo on a whim, where he embarks on a Bashō-inspired pilgrimage to the pine islands of Matsushima. This Gilbert Silvester, a beard historian, acquires an unlikely companion: a young man named Yosa, who’s looking for the best place to kill himself and takes Gilbert along to cliffs and forests famous for their suicide rates. Although there are still cherry blossoms and kabuki theatre, Gilbert soon learns that this isn’t Bashō’s Japan anymore.
From the haikus he composes and the letters he writes to Mathilda back home, we track his inward journey as it contrasts with the outward ones he undertakes. I enjoyed the surreal touches – Yosa says he once dated a woman who was actually a fox – and the Murakami setup (the wife’s adultery and the hair patterns are reminiscent of The Wind-Up Bird Chronicle).
Somehow, though, for me this is a book that succeeds more in its ideas (searching for the essence of a place but only finding the clichés; coniferous versus deciduous trees as a metaphor for what lasts in life versus what fades) than in its actual execution. It never all quite comes together, and the inconclusive ending makes you question how much of this has been a dream or a fantasy. It’s ambitious and intellectually impressive, but something about its dignified aloofness is hard to be enthusiastic about.
Do watch Lost in Translation, one of my favorite films, afterwards…
And a DNF: The Days of Abandonment by Elena Ferrante. The time has come to admit that I simply do not appreciate Ferrante’s work. I could only make it 25 pages into this one; I’ve read a different short novel of hers (The Lost Daughter), and skimmed another (My Brilliant Friend). While I enjoyed the narrator’s voice well enough, and loved the scene in which her errant husband finds broken glass in his dinner, I found that I had no interest in how this seemingly predictable story of the end of a marriage might play out.
Up next for Part II: The Wind that Lays Waste by Selva Almada, on its way from Charco Press, and The Awakening of Miss Prim by Natalia Sanmarin Fenollera.
Are you doing any special reading for Women in Translation month this year?
This Year’s “Snow” and “Winter” Reads
Longtime readers will know how much I enjoy reading with the seasons. Although it’s just starting to feel like there’s a promise of spring here in the south of England, I understand that much of North America is still cold and snowy, so I hope these recent reads of mine will feel topical to some of you – and the rest of you might store some ideas away for next winter.
Silence in the Snowy Fields and Other Poems by Robert Bly (1967)
Even when they’re in stanza form, these don’t necessarily read like poems; they’re often more like declaratory sentences, with the occasional out-of-place exclamation. But Bly’s eye is sharp as he describes the signs of the seasons, the sights and atmosphere of places he visits or passes through on the train (Ohio and Maryland get poems; his home state of Minnesota gets a whole section), and the small epiphanies of everyday life, whether alone or with friends. And the occasional short stanza hits like a wisdom-filled haiku, such as “There are palaces, boats, silence among white buildings, / Iced drinks on marble tops among cool rooms; / It is good also to be poor, and listen to the wind” (from “Poem against the British”).
Favorite wintry passages:
How strange to think of giving up all ambition!
Suddenly I see with such clear eyes
The white flake of snow
That has just fallen in the horse’s mane!
(“Watering the Horse” in its entirety)
The grass is half-covered with snow.
It was the sort of snowfall that starts in late afternoon,
And now the little houses of the grass are growing dark.
(the first stanza of “Snowfall in the Afternoon”)
Wishing for Snow: A Memoir by Minrose Gwin (2004)
One of the more inventive and surprising memoirs I’ve read. Growing up in Mississippi in the 1920s–30s, Gwin’s mother wanted nothing more than for it to snow. That wistfulness, a nostalgia tinged with bitterness, pervades the whole book. By the time her mother, Erin Clayton Pitner, a published though never particularly successful poet, died of ovarian cancer in the late 1980s, their relationship was a shambles. Erin’s mental health was shakier than ever – she stole flowers from the church altar, frequently ran her car off the road, and lived off canned green beans – and she never forgave Minrose for having had her committed to a mental hospital. Poring over Erin’s childhood diaries and adulthood vocabulary notebook, photographs, the letters and cards that passed between them, remembered and imagined conversations and monologues, and Erin’s darkly observant unrhyming poems (“No place to hide / from the leer of the sun / searching out every pothole, / every dream denied”), Gwin asks of her late mother, “When did you reach the point that everything was in pieces?”
The Way Past Winter by Kiran Millwood Hargrave (2018)
It has been winter for five years, and Sanna, Mila and Pípa are left alone in their little house in the forest – with nothing but cabbages to eat – when their brother Oskar is lured away by the same evil force that took their father years ago and has been keeping spring from coming. Mila, the brave middle daughter, sets out on a quest to rescue Oskar and the village’s other lost boys and to find the way past winter. Clearly inspired by the Chronicles of Narnia and especially Katherine Arden’s Winternight trilogy, this middle grade novel is set in an evocative, if slightly vague, Russo-Finnish past and has more than a touch of the fairy tale about it. I enjoyed it well enough, but wouldn’t seek out anything else by the author.
Favorite wintry passage:
“It was a winter they would tell tales about. A winter that arrived so sudden and sharp it stuck birds to branches, and caught the rivers in such a frost their spray froze and scattered down like clouded crystals on the stilled water. A winter that came, and never left.”
Snow Country by Yasunari Kawabata (1937; English translation, 1956)
[Translated from the Japanese by Edward G. Seidensticker]
The translator’s introduction helped me understand the book better than I otherwise might have. I gleaned two key facts: 1) The mountainous west coast of Japan is snowbound for months of the year, so the title is fairly literal. 2) Hot springs were traditionally places where family men travelled without their wives to enjoy the company of geishas. Such is the case here with the protagonist, Shimamura, who is intrigued by the geisha Komako. Her flighty hedonism seems a good match for his, but they fail to fully connect. His attentions are divided between Komako and Yoko, and a final scene that is surprisingly climactic in a novella so low on plot puts the three and their relationships in danger. I liked the appropriate atmosphere of chilly isolation; the style reminded me of what little I’ve read from Marguerite Duras. I also thought of Silk by Alessandro Baricco and Memoirs of a Geisha by Arthur Golden – perhaps those were to some extent inspired by Kawabata?
Favorite wintry passage:
“From the gray sky, framed by the window, the snow floated toward them in great flakes, like white peonies. There was something quietly unreal about it.”
I’ve also been slowly working my way through The Snow Leopard by Peter Matthiessen, a spiritual quest memoir with elements of nature and travel writing, and skimming Francis Spufford’s dense book about the history of English exploration in polar regions, I May Be Some Time (“Heat and cold probably provide the oldest metaphors for emotion that exist.”).
On next year’s docket: The Library of Ice by Nancy Campbell (on my Kindle) and Snow Falling on Cedars by David Guterson
Last year I had a whole article on perfect winter reads published in the Nov/Dec issue of Bookmarks magazine. Buried in Print spotted it and sent this tweet. If you have access to the magazine via your local library, be sure to have a look!