Recent Poetry Releases by Allison Blevins, Kit Fan, Lisa Kelly and Laura Scott
I’m catching up on four 2023 poetry collections from independent publishers, three of them from Carcanet Press, which so graciously keeps me stocked up with work by contemporary poets. Despite the wide range of subject matter, style and technique, nature imagery and erotic musings are links. From each I’ve chosen one short poem as a representative.
Cataloguing Pain by Allison Blevins
Last year I reviewed Allison Blevins’ Handbook for the Newly Disabled. This shares its autobiographical consideration of chronic illness and queer parenting. Specifically, she looks back to her MS diagnosis and three IVF pregnancies, and her spouse’s transition. Both partners were undergoing bodily transformations and coming into new identities, the one as disabled and the other as a man. In later poems she calls herself “The shell”, while “Elegy for My Wife,” which closes Part I, makes way for references to “my husband” in Part II.
“I won’t wail for your dead name. I don’t mean that violence. I wish for a word other than elegy to explain how some of this feels like goodbye.”
In unrhymed couplets or stanzas and bittersweet paragraphs, Blevins marshals metaphors from domestic life – colours, food, furniture, gardening – to chart the changes that pain and disability force onto their family’s everyday routines. “Fall Risk” and “Fly Season” are particular highlights. This is a potent and frankly sexual text for readers drawn to themes of health and queer family-making (see also my Three on a Theme post on that topic).
Published by YesYes Books on 19 April. With thanks to the author for the advanced e-copy for review.
The Ink Cloud Reader by Kit Fan
Kit Fan was raised in Hong Kong and moved to the UK as an adult. This is his third collection of poetry. “Suddenly” tells a version of his life story in paragraphs or single lines that all incorporate the title word (with an ironic nod, through the epigraph, to Elmore Leonard’s writing ‘rule’ that “suddenly” should never be used). The “IF” statements of “Delphi” then ponder possible future events; a trip to hospital sees him contemplating his mortality (“Glück,” written as a miniature three-act play) and appreciating tokens of beauty (“Geraniums in May”). “Yew,” unusually, is a modified sonnet where every line rhymes.
As the collection’s title suggests, it is equally interested in the natural and the human. There are poems describing the cycles of the moon (the lines of “Moon Salutation” curve into a half-moon parabola) and the wind. Ink pulls together calligraphy, the Chinese zodiac and literature. “The Art of Reading,” which commemorates important moments, real and imaginary, of the poet’s reading life, was a favourite of mine, as was “Derek Jarman’s Garden.” Fan also writes of memory and travels – including to the underworld. His relationship with his husband is a subtle background subject. (“Even though we’ve lived together for nearly twenty years and are always reading sometimes I can’t read you at all which I guess is a good thing”). It’s an opulent and allusive work that has made me eager to try more by Fan. Luckily, I have his debut novel (passed on to me by Laura T.) on the shelf.
Readalike: Moving House by Theophilus Kwek
Published on 27 April. With thanks to Carcanet Press for the advanced e-copy for review.
The House of the Interpreter by Lisa Kelly
Lisa Kelly’s concern with deafness is sure to bring to mind Raymond Antrobus and Ilya Kaminsky, but I prefer her work. Kelly is half-Danish and has single-sided deafness, and in Part I of this second collection, entitled “Chamber,” her poems engage with questions of split identity:
Is this what it is like for us all? Always having to relearn home
with a strange tongue and alien hands, prepared to open our mouths
as if to beg, to touch tongue-tip with fingertip to reveal ourselves?
The title poem relishes the absurdities of telephone communication, closing with:
In the House of the Interpreter,
Oralism and Manualism, like Passion and Patience,
are rewarded differently and at different times.
Hello, this is your Interpreter. What is your wishlist?
This section ends with “#WhereIsTheInterpreter,” about the Deaf community’s outrage that the Prime Minister’s Covid briefings were not simultaneously translated into BSL.
Bizarrely but delightfully, Kelly then moves onto “Oval Window,” a sequence of alliteration-rich poems about fungi. “Mycology Abecedarian” is a joyful list of species’ common names, while “Mycelium” notes how mushrooms show that different ways of evolution and reproduction are possible. “Darning Mushroom” even combines images of fungi and holey socks. Part III, “Canal,” is a miscellany of autobiographical poems and homages to Faith Ringgold, full of references to colour, language, nature and travel.
Readalike: In the Quaker Hotel by Helen Tookey
Published on 27 April. With thanks to Carcanet Press for the advanced e-copy for review.
The Fourth Sister by Laura Scott
Back in 2019 I reviewed Laura Scott’s debut collection, So Many Rooms. Her second book reflects some of the same preoccupations: art, birds, colour and Russian literature. Chekhov is a recurring point of reference across the two; here, for instance, we have a found poem composed of excerpts from his letters. Scott also writes about the deaths of her parents, voicing resentment towards her father and remarking on life’s irony. As the title suggests, her family constellation includes sisters. Her godparents loom surprisingly large; her godmother was, apparently, a spy. My favourite of the poems, “Still Life,” imagines the whole of life being prized as a glass in an exhibit, appealingly pristine and praiseworthy in comparison to what we usually perceive: “the raggy sprawl of a life … the wrong turns and longing of it.” Elsewhere, metaphors are drawn from the theatre: performing lines, taking items from a wardrobe. I loved the way the pull of nostalgia is set up in opposition to the now.
Published on 23 February. With thanks to Carcanet Press for the advanced e-copy for review.
Read any good poetry recently?
Reading Ireland Month: Baume, Kennefick, Ní Ghríofa, O’Farrell
Reading Ireland Month is hosted each March by Cathy of 746 Books. This year I read works by four Irish women: a meditation on birds and craft, hard-hitting poems about body issues, autofiction that incorporates biography and translation to consider the shape of women’s lives across the centuries, and a novel that jets between Hong Kong and Scotland. Two of these were sent to me as part of the Rathbones Folio Prize shortlist. I have some Irish music lined up to listen to (Hallow by Duke Special, At Swim by Lisa Hannigan, Chop Chop by Bell X1, Magnetic North by Iain Archer) and I’m ready to tell you all about these four books.
handiwork by Sara Baume (2020)
Back in February 2016, I reviewed Baume’s debut novel, Spill Simmer Falter Wither, for Third Way magazine. A dark story of a middle-aged loner and his adopted dog setting off on a peculiar road trip, it was full of careful nature imagery. “I’ve always noticed the smallest, quietest things,” the narrator, Ray, states. The same might be said of Baume, who is a visual artist as well as an author and put together this gently illuminating book over the course of 2018, at the same time as she was working on several sculptural installations. In short sections of a paragraph or two, or sometimes no more than a line, she describes her daily routines in her home workspaces: in the morning she listens to barely audible talk radio as she writes, while the afternoons are for carving and painting.
Working with her hands is a family tradition passed down from her grandfather and father, who died in the recent past – of lung cancer from particles he was exposed to at the sandstone quarry where he worked. Baume has a sense of responsibility for how she spends her time and materials. Concern about waste is at odds with a drive for perfection: she discarded her first 100 plaster birds before she was happy with the series used to illustrate this volume. Snippets of craft theory, family memories, and trivia about bird migration and behaviour are interspersed with musings on what she makes. The joy of holding a physical object in the hand somehow outweighs that of having committed virtual words to a hard drive.
Despite the occasional lovely line, this scattered set of reflections doesn’t hang together. The bird facts, in particular, feel shoehorned in for symbolism, as in Colum McCann’s Apeirogon. It’s a shame, as from the blurb I thought this book couldn’t be better suited to my tastes. Ultimately, as with Spill, Baume’s prose doesn’t spark much for me.
“Most of the time spent making is spent, in fact, in the approach.”
“I must stop once the boredom becomes intolerable, knowing that if I plunge on past this point I will risk arriving at resentment”
“What we all shared – me, my dad, his dad – was a suspicion of modern life, a loathing of fashion, a disappointment with the new technologies and a preference for the ad hoc contraptions of the past”
“The glorious, crushing, ridiculous repetition of life.”
With thanks to Tramp Press and FMcM Associates for the free copy for review. handiwork is on the Rathbones Folio Prize shortlist.
Eat or We Both Starve by Victoria Kennefick (2021)
This audacious debut collection of fleshly poems is the best I’ve come across so far this year. 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.
Where did I start?
Yes, with the heart, enlarged,
its chambers stretched through caring.
Oh is it in defiance or defeat, I don’t know,
I eat it anyway, raw, still warm.
The size of my fist, I love it.
(from the opening poem, “Learning to Eat My Mother, where My Mother Is the Teacher”)
Meat avoidance goes beyond principled vegetarianism to become a phobia. Like the female saints, the speaker will deny herself until she achieves spiritual enlightenment.
The therapist taps my shoulders, my head, my knees,
tells me I was a nun once, very strict.
This makes sense; I know how cleanly I like
to punish myself.
(from “Alternative Medicine”)
The title phrase comes from “Open Your Mouth,” in which the god Krishna, as a toddler, nourishes his mother with clay. A child feeding its mother reverses the expected situation, which is described in one of the book’s most striking poems, “Researching the Irish Famine.” The site of an old workhouse divulges buried horrors: “Mothers exhausted their own bodies / to produce milk. […] The starving / human / literally / consumes / itself.”
Corpses and meals; body odour and graves. There’s a pleasingly morbid cast to this collection, but it also has its lighter moments: the sexy “Paris Syndrome,” the low-stakes anxiety over pleasing one’s mother in “Guest Room,” and the playful closer, “Prayer to Audrey Hepburn” (“O Blessed Audrey of the feline eye-flick, jutting / bones, slim-hipped androgyny of war-time rationing”). Rich with imagery and alliteration, this is just my kind of poetry. Verse readalikes would include The Air Year by Caroline Bird, Flèche by Mary Jean Chan, and Tongues of Fire by Seán Hewitt, while in prose I was also reminded of Milk Fed by Melissa Broder (review coming soon) and Sanatorium by Abi Palmer.
With thanks to Carcanet Press for the free copy for review. This comes out on the 25th.
A Ghost in the Throat by Doireann Ní Ghríofa (2020)
“This is a female text.” In an elegant loop, Ní Ghríofa begins and ends with this line, and uses it as a refrain throughout. What is the text? It is this book, yes, as well as the 18th-century Irish-language poem that becomes an obsession for the author/narrator, “The Keen for Art Ó Laoghaire” by Eibhlín Dubh Ní Chonaill; however, it is also the female body, its milk and blood just as significant for storytelling as any ink.
Because the protagonist’s name is the same as the author’s, I took her experiences at face value. As the narrative opens in 2012, Ní Ghríofa and her husband have three young sons and life for her is a list of repetitive household tasks that must be completed each day. She donates pumped breast milk for premature babies as a karmic contribution to the universe: something she can control when so much around her she feels she can’t, like frequent evictions and another pregnancy. Reading Eibhlín Dubh’s lament for her murdered husband, contemplating a new translation of it, and recreating her life from paltry archival fragments: these tasks broaden her life and give an intellectual component to complement the bodily one.
My weeks are decanted between the twin forces of milk and text, weeks that soon pour into months, and then into years. I make myself a life in which whenever I let myself sit, it is to emit pale syllables of milk, while sipping my own dark sustenance from ink. […] I skitter through chaotic mornings of laundry and lunchboxes and immunisations, always anticipating my next session at the breast-pump, because this is as close as I get to a rest. To sit and read while bound to my insatiable machine is to leave my lists behind and stroll instead through doors opened by Eibhlín Dubh.
Ní Ghríofa remembers other times in her life in an impressionistic stream: starting a premed course at university, bad behaviour that culminated in suicidal ideation, a near-collision on a highway, her daughter’s birth by emergency C-section, finally buying a house and making it a home by adopting a stray kitten and planting a bee-friendly garden. You can tell from the precision of her words that Ní Ghríofa started off as a poet, and I loved how she writes about her own life. I had little interest in Eibhlín Dubh’s story, but maybe it’s enough for her to be an example of women “cast once more in the periphery of men’s lives.” It’s a book about women’s labour – physical and emotional – and the traces of it that remain. I recommend it alongside I Am, I Am, I Am by Maggie O’Farrell and Mother Ship by Francesca Segal.
With thanks to Tramp Press and FMcM Associates for the free copy for review. A Ghost in the Throat is on the Rathbones Folio Prize shortlist.
The Distance Between Us by Maggie O’Farrell (2004)
This is the earliest work of O’Farrell’s that I’ve read – it was her third novel, following After You’d Gone and My Lover’s Lover (I finally found those two at a charity shop last year and I’m saving them for a rainy day). It took me a long time to get into this one. It’s delivered in bitty sections that race between characters and situations, not generally in chronological order. It’s not until nearly the halfway point that you get a sense of how it all fits together.
Although there are many secondary characters, the two main strands belong to Jake, a young white filmmaker raised in Hong Kong by a bohemian mother, and Stella, a Scottish-Italian radio broadcaster. When a Chinese New Year celebration turns into a stampede, Jake and his girlfriend narrowly escape disaster and rush into a commitment he’s not ready for. In the meantime, Stella gets spooked by a traumatic flash from her childhood and flees London for a remote Scottish hotel. She’s very close to her older sister, Nina, who was deathly ill as a child (O’Farrell inserts a scene I was familiar with from I Am, I Am, I Am, when she heard a nurse outside her room chiding a noisy visitor, “There’s a little girl dying in there”), but now it’s Nina who will have to convince Stella to take the chance at happiness that life is offering.
In the end, this felt like a rehearsal for This Must Be the Place; it has the myriad settings (e.g., here, Italy, Wales and New Zealand are also mentioned) but not the emotional heft. With a setup like this, you sort of know where things are going, don’t you? Despite Stella’s awful secret, she is as flat a character as Jake. Simple boy-meets-girl story lines don’t hold a lot of appeal for me now, if they ever did. Still, the second half was a great ride.
Also, I’ve tried twice over the past year, but couldn’t get further than page 80 in The Wild Laughter by Caoilinn Hughes (2020), a black comedy about two brothers whose farmer father goes bankrupt and gets a terminal diagnosis. It’s a strangely masculine book (though in some particulars very similar to Scenes of a Graphic Nature) and I found little to latch on to. This was a disappointment as I’d very much enjoyed Hughes’s debut, Orchid & the Wasp, and this second novel is now on the Dylan Thomas Prize longlist.
What have you been picking up for Reading Ireland Month?
Young Writer of the Year Award 2020: Shortlist Reviews and Predictions
Being on the shadow panel for the Sunday Times Young Writer of the Year Award was a bookish highlight of 2017 for me. I’m pleased for this year’s panelists, especially blogging friend Marina Sofia, to have had the same opportunity, and I look forward to hearing who they choose as their shadow panel winner on December 3rd and then attending the virtual prize ceremony on December 10th.
At the time of the shortlisting, I happened to have already read Exciting Times by Naoise Dolan and was halfway through Catherine Cho’s memoir Inferno. I got the poetry collection Surge by Jay Bernard out from the library to have another go (after DNFing it last year), and the kind folk of FMcM Associates sent me the other two shortlisted books, a poetry collection and a novel, so that I could follow along with the shadow panel’s deliberations. Here are my brief thoughts on all five nominees.
Surge by Jay Bernard (2019)
As a writer-in-residence at the George Padmore Institute, a research centre for radical Black history, in 2016, Bernard investigated the New Cross Massacre, a fire that killed 13 young people in 1981. In 2017, the tragedy found a horrific echo in the Grenfell Tower fire, which left 72 dead. This debut poetry collection bridges that quarter-century through protest poems from various perspectives, giving voice to victims and their family members and exploring the interplay between race, sexuality and violence. Patois comes in at several points, most notably in “Songbook.” I especially liked “Peg” and “Pride,” and the indictment of government indifference in “Blank”: “It-has-nothing-to-do-with-us today issued this statement: / those involved have defended their actions and been … acquitted / retired with full pay”. On the whole, I found it difficult to fully engage with this collection, but I am reliably informed that Bernard’s protest poems have more impact when performed aloud.
Readalikes: In Nearby Bushes by Kei Miller, A Portable Paradise by Roger Robinson and Don’t Call Us Dead by Danez Smith
Inferno by Catherine Cho (2020)
Cho, a Korean American literary agent based in London, experienced stress-induced postpartum psychosis after the birth of her son. She and her husband had returned to the USA when Cato was two months old to introduce him to friends and family, ending with a big Korean 100-day celebration at her in-laws’ home. Almost as soon as they got to her in-laws’, though, she started acting strangely: she was convinced cameras were watching their every move, and Cato’s eyes were replaced with “devil’s eyes.” She insisted they leave for a hotel, but soon she would be in a hospital emergency room, followed by a mental health ward. Cho alternates between her time in the mental hospital and a rundown of the rest of her life before the breakdown, weaving in her family history and Korean sayings and legends. Twelve days: That was the length of her hospitalization in early 2018, but Cho so painstakingly depicts her mindset that readers are fully immersed in an open-ended purgatory. She captures extremes of suffering and joy in this vivid account. (Reviewed in full here.)
Readalikes: An Angel at My Table by Janet Frame and Dear Scarlet by Teresa Wong
Exciting Times by Naoise Dolan (2020)
At 22, Ava leaves Dublin to teach English as a foreign language to wealthy preteens in Hong Kong and soon comes to a convenient arrangement with her aloof banker friend, Julian, who lets her live with him without paying rent and buys her whatever she wants. They have sex, yes, but he’s not her boyfriend per se, so when he’s transferred to London for six months, there’s no worry about hard feelings when her new friendship with Edith Zhang turns romantic. It gets a little more complicated, though, when Julian returns and she has to explain these relationships to her two partners and to herself. On the face of it, this doesn’t sound like it would be an interesting plot, and the hook-up culture couldn’t be more foreign to me. But with Ava Dolan has created a funny, deadpan voice that carries the entire novel. I loved the psychological insight, the playfulness with language, and the zingy one-liners (“I wondered if Victoria was a real person or three Mitford sisters in a long coat”). (Reviewed in full here.)
Readalikes: Besotted by Melissa Duclos and Conversations with Friends by Sally Rooney
Tongues of Fire by Seán Hewitt (2020)
In the title poem, the arboreal fungus from the cover serves as “a bright, ancestral messenger // bursting through from one realm to another” like “the cones of God, the Pentecostal flame”. This debut collection is alive with striking imagery that draws links between the natural and the supernatural. Sex and grief, two major themes, are silhouetted against the backdrop of nature. Fields and forests are loci of meditation and epiphany, but also of clandestine encounters between men: “I came back often, // year on year, kneeling and being knelt for / in acts of secret worship, and now / each woodland smells quietly of sex”. Hewitt recalls travels to Berlin and Sweden, and charts his father’s rapid decline and death from an advanced cancer. A central section of translations of the middle-Irish legend “Buile Suibhne” is less memorable than the gorgeous portraits of flora and fauna and the moving words dedicated to the poet’s father: “You are not leaving, I know, // but shifting into image – my head / already is haunted with you” and “In this world, I believe, / there is nothing lost, only translated”.
Readalikes: Physical by Andrew McMillan and If All the World and Love Were Young by Stephen Sexton
Nightingale by Marina Kemp (2020)
Marguerite Demers, a 24-year-old nurse, has escaped Paris to be a live-in carer for elderly Jérôme Lanvier in southern France. From the start, she senses she’s out of place here – “She felt, as always in this village, that she was being observed”. She strikes up a friendship with a fellow outsider, an Iranian émigrée named Suki, who, in this story set in 2002, stands out for wearing a hijab. Everyone knows everyone here, and everyone has history with everyone else – flirtations, feuds, affairs, and more. Brigitte Brochon, unhappily married to a local farmer, predicts Marguerite will be just like the previous nurses who failed to hack it in service to the curmudgeonly Monsieur Lanvier. But Marguerite sticks up for herself and, though plagued by traumatic memories, makes her own bid for happiness. The novel deals sensitively with topics like bisexuality, euthanasia, and family estrangement, but the French provincial setting and fairly melodramatic plot struck me as old-fashioned. Still, the writing is strong enough to keep an eye out for what Kemp writes next. (U.S. title: Marguerite.)
Readalikes: French-set novels by Joanne Harris and Rose Tremain; The Hoarder by Jess Kidd
After last year’s unexpected winner – Raymond Antrobus for his poetry collection The Perseverance – I would have said that it’s time for a novel by a woman to win. However, I feel like a Dolan win would be too much of a repeat of 2017’s win (for Sally Rooney), and Kemp’s debut novel isn’t quite up to scratch. Much as I enjoyed Inferno, I can’t see it winning over these judges (three of whom are novelists: Kit de Waal, Sebastian Faulks and Tessa Hadley), though it would be suited to the Wellcome Book Prize if that comes back in 2021. So, to my surprise, I think it’s going to be another year for poetry.
I’ve been following the shadow panel’s thoughts via Marina’s blog and the others’ Instagram accounts and it looks like they are united in their admiration for the poetry collections, particularly the Hewitt. That would be my preference, too: I respond better to theme and style in poetry (Hewitt) than to voice and message (Bernard). However, I think that in 2020 the Times may try to trade its rather fusty image for something more woke, bearing in mind the Black Lives Matter significance and the unprecedented presence of a nonbinary author.
Shadow panel winner: Tongues of Fire by Seán Hewitt
Official winner: Surge by Jay Bernard
Have you read anything from this year’s shortlist?
Be(com)ing an ‘Expert’ on Postpartum Depression for #NonficNov
This Being/Becoming/Asking the Expert week of the month-long Nonfiction November challenge is hosted by Rennie of What’s Nonfiction.
I’m also counting this as the first entry in my new “Three on a Theme” series, where I’ll review three books that have something significant in common and tell you which one to pick up if you want to read into the topic for yourself. I have another medical-themed one lined up for this Friday as a second ‘Being the Expert’ entry.
I never set out to read several memoirs of women’s experience of postpartum depression this year; it sort of happened by accident. I started with the graphic memoir and then chanced upon a recent pair of traditional memoirs published in the UK – in fact, I initially pitched them as a dual review to the TLS, but they’d already secured a reviewer for one of the books.
Inferno: A Memoir by Catherine Cho
I was delighted to see this prediction of mine make the Sunday Times Young Writer of the Year Award shortlist. Coincidentally, I was already halfway through the book on my Kindle (via NetGalley) at that point, but its nomination gave me the push to finish in a timely manner. Cho, a Korean American literary agent based in London, experienced stress-induced postpartum psychosis after the birth of her son, Cato. She and her husband James had gone back to the USA when Cato was two months old to introduce him to friends and family, ending with a big Korean 100-day celebration for him at her in-laws’ home in New Jersey. Almost as soon as they got to her in-laws’, though, she started acting strangely: she was convinced there were cameras watching their every move, and Cato’s eyes were replaced with “devil’s eyes.” She insisted they leave for a hotel, but soon she would be in an emergency room, followed by a mental health ward.
Cho alternates between her time on the New Bridge ward – writing in a notebook, trying to act normal whenever James visited, expressing milk from painfully swollen breasts, and interacting with her fellow patients with all their quirks – and a rundown of the rest of her life before the breakdown. Her Kentucky childhood was marked by her mathematician father’s detachment and the sense that she and her brother were together “in the trenches,” pitted against the world. In her twenties she worked in a New York City corporate law firm and got caught up in an abusive relationship with a man she moved to Hong Kong to be with. All along she weaves in her family’s history and Korean sayings and legends that explain their values.
Twelve days. That was the length of her hospitalization in early 2018, but Cho so painstakingly depicts her mindset that readers are fully immersed in an open-ended purgatory – a terrifying time when she questioned her sanity and whether she was cut out for motherhood. “Koreans believe that happiness can only tempt the fates and that any happiness must be bought with sorrow,” she writes. She captures both extremes, of suffering and joy, in this vivid account.
What Have I Done? An honest memoir about surviving postnatal mental illness by Laura Dockrill
Dockrill is a British children’s author. Her style reminded me of others of her contemporaries who do a good line in light, witty, warts-and-all, here’s-what-it’s-really-like-to-be-a-woman books: Dolly Alderton, Caitlin Moran and the like. From a labor that quickly deviated from her birth plan due to an emergency Caesarean to the usual post-baby blues to full-blown psychosis, Dockrill recreates her experience with fluid dialogue and italicized passages of her paranoid imaginings. Her memoir resembles Cho’s in its broad strokes but also in certain particulars, like imagining surveillance cameras and hearing a voice in her head telling her she is a bad mum. I skimmed this one because of a library deadline and because of an overload on similar content. I had a greater affinity for Cho’s literary style compared to the more between-girlfriends, self-help bent of this memoir. With the glossary and resources at the end, though, I’d say this one would be more useful for someone going through the same thing.
Dear Scarlet: The Story of My Postpartum Depression by Teresa Wong (2019)
Memoir as letter and as graphic novel. Wong narrates the traumatic birth of her first child and her subsequent postpartum depression in black-and-white sketches that manage to feel breezy and fun despite the heavy subject matter. “I felt lost. I had no maternal instincts and no clue how I was supposed to take care of a baby,” she writes to Scarlet. “Your first two months in the world were the hardest two months of my life.”
For Wong, a combination of antidepressants, therapy, a postnatal doula, an exercise class, her mother’s help, and her husband’s constant support got her through, and she knows she’s lucky to have had a fairly mild case and to have gotten assistance early on. I loved the “Not for the Faint of Heart” anatomical spreads and the reflections on her mother’s tough early years after arriving in Canada from China.
The drawing and storytelling style is similar to that of Sarah Laing and Debbie Tung. The writing is more striking than the art, though, so I hope that with future work the author will challenge herself to use more color and more advanced designs (from her Instagram page it looks like she is heading that way).
My thanks to publicist Beth Parker for the free e-copy for review.
What I learned:
All three authors emphasize that motherhood does not always come naturally; “You might not instantly love your baby,” as Dockrill puts it. There might be a feeling of detachment – from the baby and/or from one’s new body. They all note that postpartum depression is common and that new mothers should not be ashamed of seeking help from medical professionals, baby nurses, family members and any other sources of support.
These two passages were representative for me:
Cho: “I don’t feel a rush of love or an overwhelming weight of responsibility, emotions that I’d been expecting. Instead, I felt curious, like I’d just been introduced to a stranger. He was a creature, an idea, not even human yet, just a being, a life. … I’d thought I would reclaim my body after birth, but instead, it was now a tool, something to sustain life.”
Dockrill: “If childbirth and motherhood are the most natural, universal, common things in the world, the things that women have been doing since the beginning of time, then why does nobody tell us that there’s a good chance that you might not feel like yourself after you have a baby? That you might even lose your head? That you might not ever come back?”
On this topic, I have also read: Birth of a New Brain by Dyane Harwood. There are more book ideas here and here.
Nobody Told Me by Hollie McNish, one of my current bedside books, also deals with complicated pregnancy emotions and the chaotic early months of motherhood.
If you read just one, though… Make it Inferno by Catherine Cho.
Can you see yourself reading any of these books?
Book Serendipity in 2020: Part III
I call it Book Serendipity when two or more books that I read at the same time or in quick succession have something pretty bizarre in common. Because I have so many books on the go at once (usually around 20), I suppose I’m more prone to such incidents than some. I also list these occasional reading coincidences on a Twitter thread.
The following are in chronological order. (January to March’s incidents appeared in this post, and April to July’s here.)
- Reading two books whose covers feature Audubon bird paintings.
- A 19th-century female character inherits a house but knows it will pass instantly to her spouse in Property by Valerie Martin and Islands of Mercy by Rose Tremain.
- A bag/sack of potatoes as a metaphor in Other People’s Pets by R.L. Maizes and Redhead by the Side of the Road by Anne Tyler.
- Nipple rings get a mention in Addition by Toni Jordan and Other People’s Pets by R.L. Maizes.
- Taxidermy is an element (most major in the first one) in Mostly Dead Things by Kristen Arnett, Wild Child by Patrick Barkham and Into the Tangled Bank by Lev Parikian.
- A discussion of bartenders’ habit of giving out free drinks to get big tips (a canny way of ‘stealing’ from the employer) in Kitchen Confidential by Anthony Bourdain and Other People’s Pets by R.L. Maizes.
- Characters named Seamus in Addition by Toni Jordan and Mother’s Milk by Edward St. Aubyn.
- Wild boar mentioned in Mostly Dead Things by Kristen Arnett, Other People’s Pets by R.L. Maizes and My Berlin Kitchen by Luisa Weiss.
- A fastidious bachelor who’s always cleaning his living space in Other People’s Pets by R.L. Maizes and Redhead by the Side of the Road by Anne Tyler.
- A character is a blogger in Americanah by Chimamanda Ngozi Adichie, Other People’s Pets by R.L. Maizes and My Berlin Kitchen by Luisa Weiss.
- Norfolk settings in Wild Child by Patrick Barkham and Bird Therapy by Joe Harkness (and both were on the Wainwright Prize longlist).
- A close aunt‒niece relationship in Mostly Dead Things by Kristen Arnett and Addition by Toni Jordan.
- A guy does dumb accents when talking about food, and specifically a French accent for “hamburger,” in Addition by Toni Jordan and Redhead by the Side of the Road by Anne Tyler.
- Recipes for a potato salad that is dressed with oil and vinegar rather than mayonnaise in Tender at the Bone by Ruth Reichl and My Berlin Kitchen by Luisa Weiss.
- Mentions of the Watergate hearings in A Crime in the Neighborhood by Suzanne Berne and Tender at the Bone by Ruth Reichl.
- Twins in Half of a Yellow Sun by Chimamanda Ngozi Adichie, A Crime in the Neighborhood by Suzanne Berne and The Yonahlossee Riding Camp for Girls by Anton DiSclafani.
- Characters nicknamed “Lefty” in Middlesex by Jeffrey Eugenides and Modern Lovers by Emma Straub.
- Characters named Abir/Abeer in A Traveller at the Gates of Wisdom by John Boyne and Apeirogon by Colum McCann.
- Kayaking in Scotland in The Frayed Atlantic Edge by David Gange and Summerwater by Sarah Moss.
- The military coup in Nigeria features in Half of a Yellow Sun by Chimamanda Ngozi Adichie and The Shadow of the Sun by Ryszard Kapuściński.
- The song “White Christmas” is quoted in Mudbound by Hillary Jordan and Tales of the City by Armistead Maupin.
- The fact that fingerprints are formed by the fetus touching the uterine wall appears in Marrow by Elizabeth Lesser and You Will Never Be Forgotten by Mary South.
- Orkney as a setting in Close to Where the Heart Gives Out by Malcolm Alexander and The Frayed Atlantic Edge by David Gange. I’m hankering to go back!
- Teresa of Ávila is mentioned in Marrow by Elizabeth Lesser and You Will Never Be Forgotten by Mary South.
- A dog named Bingo in Half of a Yellow Sun by Chimamanda Ngozi Adichie and Modern Lovers by Emma Straub. (B-I-N-G-O!)
- Four sisters are given a joint name in A Crime in the Neighborhood by Suzanne Berne (Fran-Claire-Lois-Ada) and Marrow by Elizabeth Lesser (KaLiMaJo).
- The same Lilla Watson quote (“If you have come to help me, you are wasting your time. But if you have come because your liberation is bound up with mine, then let us work together”) appears in both The Gospel of Trees by Apricot Irving and Marrow by Elizabeth Lesser.
- An Irish author and Hong Kong setting for Exciting Times by Naoise Dolan and The Distance Between Us by Maggie O’Farrell.
- The Dorothy Parker quote “Men seldom make passes at girls who wear glasses” appears in both What Are You Going Through by Sigrid Nunez and First Time Ever by Peggy Seeger.
What’s the weirdest reading coincidence you’ve had lately?
Recent Writing for BookBrowse, Shiny New Books and the TLS
We’re back from a pleasant but whirlwind weekend in France. Even just sticking to one corner of Normandy, there was far too much to see and do and not enough good weather to do it all in. Highlights were the Bayeux tapestry, the gorse-covered rocky cliff above a river at Les Roches de Ham, a delicious three-course meal in a restaurant just outside Bayeux, fresh bread and cake from boulangeries, and the enormous Sunday morning open-air market in Caen. (Low point: being sick on the boat on the way back. I hate sailing.) I finished up The Dreamers by Karen Thompson Walker, read all of A Breath of French Air by H.E. Bates, and started a few more books.
Here are excerpts from and links to some of my recent print or online writing for other places. (No surprise that four out of the five are nonfiction and involve medical or bereavement themes!)
The Unwinding of the Miracle: A Memoir of Life, Death, and Everything That Comes After by Julie Yip-Williams: A lawyer facing late-stage cancer reflects on the happy life she had despite disability and an inauspicious start, and bids farewell to her family. It was miracle enough to have survived her first few years (blindness, a euthanasia attempt, and fleeing Vietnam by boat), but she eventually graduated from Harvard Law School and joined a Wall Street law firm. The author dubs herself “a somewhat ruthless realist.” Early on she vowed she would do nothing desperate or bizarre in her quest for healing, in contravention of what she calls the American “hope industrial complex.” Yet she also left room for spirituality to surprise her. The book resembles a set of journal entries or thematic essays, written at various times over her five years with colon cancer. Some stories are told more than once; an editor might have combined or cut some passages to avoid repetitiveness. Still, this posthumous memoir stands as a testament to a remarkable life of overcoming adversity, asking questions, and appreciating beauty wherever it’s found. (See also my list of other recommended posthumous cancer memoirs.)
That Time I Loved You: Stories by Carrianne Leung: The residents of a Toronto suburb cope with growing up amid a spate of surprise suicides in the late 1970s and early 1980s. Leung explores different points of view on the same events and changes that take place in a community over several years. Three of the stories are narrated by June, who is 11 years old at the start. Her parents came over from Hong Kong 15 years ago. Other stories fill in a kaleidoscopic view of the neighborhood, showing how lonely the residents are – and how segregated along ethnic lines. Leung returns to June’s perspective at the beginning, middle, and end of the book, so we see her growing up and learning how the world works. Hard lessons are in store for her: people are sometimes punished for their differences, and the older generation doesn’t have it all figured out. Suburbia gets a bad rap, but it’s where so many of us come from, so it’s heartening to see a writer taking it seriously here. (See also my article on linked short story collections, for which I enlisted lots of blogger help via book Twitter.)
Shiny New Books
War Doctor: Surgery on the Front Line by David Nott: Welsh surgeon David Nott combines advanced technical skills with extreme altruism: for weeks of every year he takes unpaid leave to volunteer with a medical charity like Médecins sans Frontières or Syria Relief in war zones or disaster areas around the world. The kinds of procedures he has performed in Sarajevo, Kabul and Darfur are a world away from his normal work as an NHS consultant in London: amputations, treating injuries caused by homemade bombs, and delivering the babies of young rape victims. His memoir is mostly structured by countries and/or time periods. There are gripping moments – such as completing a difficult amputation by following instructions texted to him by a London colleague – but also some less fascinating chronology. The book is slow to start and took me weeks to get through. However, it shines when Nott recalls particular patients who have stood out for him. All told, his is an amazing and inspiring story.
As if you haven’t already heard enough about the Wellcome Book Prize from me (!), I also wrote this article for Shiny about the Prize’s history and the range of books that have won or been nominated over the last 10 years, finishing up with some reflections on this year’s shortlist.
Times Literary Supplement
Somehow I seem to have become a TLS regular. The biography editor periodically contacts me with lists of recent memoirs to be reviewed in 400 words for the “In Brief” section, and I’ve been doing about one per month this year.
Blood Ties by Ben Crane: Artist Ben Crane has developed a passion for birds of prey, raising hawks and training as a falconer. “I saw that my feelings towards nature, and birds of prey in particular, ran in parallel with my feelings for my son,” he writes. Blood Ties accordingly cuts between the story of rehabilitating a pair of rescued sparrowhawks named Girl and Boy and a parallel story about raising his son as a part-time single father. Together these strands emphasize the common concerns that arise when caring for any creature. Crane’s descriptive language is memorably sharp. Whatever struggles his Asperger’s entails, it seems to heighten his observational skills. Pruning the travel segments would have produced a more focused memoir, but this is a powerful story all the same – of the ties that bind us, both to nature and our own families. (Full review in February 8th issue.)
Notes for the Everlost: A Field Guide to Grief by Kate Inglis: Inglis, a Nova Scotian photographer and children’s author, has written this delicate, playful handbook – something between a bereavement memoir and a self-help guide – for people who feel they might disappear into grief for ever. In 2007, Inglis’s identical twin sons were born premature, at twenty-seven weeks. Ben lived but Liam died. Every milestone in Ben’s life would serve as a reminder of the brother who should have been growing up alongside him. The unfairness was particularly keen on the day she returned to hospital for two appointments: Ben’s check-up and a report on Liam’s autopsy. Unable to sustain the eye-popping freshness of the prose in the introduction, Inglis resorts to some clichés in what follows. But this kooky, candid book will be valuable to anyone facing bereavement or supporting a loved one through it. (Full review in March 15th issue.)