Women’s Prize Shadowing & Men Reading Books by Women
Back in April I announced that my book club was one of six selected to shadow this year’s Women’s Prize shortlist by reading and discussing one of the finalists. Our assigned title was one I’d already read, but I skimmed back through it before our meet-up and enjoyed getting reacquainted with Martha Friel. Here’s our group’s review:
Sorrow and Bliss by Meg Mason
Can’t Put It Down: 4.5/5
Total = 18.5/20
Our joint highest rating, and one of our best discussions – taking in mental illness and its diagnosis and treatment, marriage, childlessness, alcoholism, sisterhood, creativity, neglect, unreliable narrators and loneliness. For several of us, these issues hit close to home due to personal or family experience. We particularly noted the way that Mason sets up parallels between pairs of characters, accurately reflecting how family dynamics can be replicated in later generations.
Even the minor characters are fully rounded, and although Martha is not always pleasant to spend time with, her voice is impressively rendered. The picture of mental illness from the inside feels authentic, including the fact that Martha uses it as an excuse for her bad behaviour, becoming self-absorbed and not seeing how she is affecting others around her. Our main point of disagreement was about Mason’s decision not to name the mental illness Martha is suffering from. It seemed clear to several of us that it was meant to be bipolar disorder, so we wondered if it was a copout not to identify it as such.
We also thought about the meaning of the term “literary fiction”, and whether this has the qualities of a prize winner and will stand the test of time.
We had to fill out a feedback questionnaire about our experience of shadowing, and most of us sent in individual blurbs in response to the book. Some ended up in the final Reading Agency article. Here was mine:
“This deceptively light novel was a perfect book club selection, eliciting deep discussion about mental illness, family relationships and parenthood. Martha’s (unreliable) narration is a delight, wry and deadpan but also with moments of wrenching emotion. Mason masterfully controls the tone to create something that is witty and poignant all at once.”
Probably the main reason we were chosen for this opportunity is that we have a man – my husband, that is! – who attends regularly. This year the prize has been particularly keen to get more men reading books by women (see more below). So, he was responsible for giving The Male Response to the novel. No pressure, right? Luckily, he enjoyed it just as much as the rest of us. From the cover and blurb, it didn’t necessarily seem like the sort of book that he would pick up to read for himself, but he was fully engaged with the themes of mental illness, family relationships, and the question of whether or not to have children, and was so compelled that he read over half of it in a day.
I’m not sure who I expect to be awarded the Women’s Prize tomorrow. We of West Fields Readers would be delighted if it went to Meg Mason for Sorrow and Bliss, but I’d also be happy with a win for Louise Erdrich or Ruth Ozeki – though I wasn’t taken with their latest works compared with earlier ones I’ve read, they are excellent authors who deserve recognition. I don’t think The Bread the Devil Knead has a chance; I’d be disappointed in a win by Elif Shafak in that I would feel obligated to try her novel – the kind that gives magic realism a bad name – again; and, while I’m a Maggie Shipstead fan in general and admire the ambition of Great Circle, it would be galling for a book I DNFed twice to take the title!
Who are you rooting for/predicting?
I’d like to mock you with that thought,
jeer at the man
who won’t read novels
written by women –
at least not if they’re still alive
~from The Poet by Louisa Reid
Maybe you’ve seen on social media that the Women’s Prize has been canvassing opinion on the books by women that all men should read. This was prompted by some shocking statistics suggesting that even bestselling female authors can only attract a 20% male readership, whereas the best-known male authors are almost equally popular with men and women. They solicited 60 nominations from big names and ran a public poll. I voted for these 10:
Half of a Yellow Sun (Chimamanda Ngozi Adichie)
Possession (A.S. Byatt)
Homegoing (Yaa Gyasi)
The Poisonwood Bible (Barbara Kingsolver)
The Sea, The Sea (Iris Murdoch)
The Stone Diaries (Carol Shields)
We Need to Talk about Kevin (Lionel Shriver)
Olive Kitteridge (Elizabeth Strout)
The Goldfinch (Donna Tartt)
Orlando (Virginia Woolf)
*If I could have added to that list, though, my top recommendations for all men to read would be Station Eleven by Emily St. John Mandel and Bring Up the Bodies by Hilary Mantel (and probably a different Octavia E. Butler novel from the one nominated).
Three of my selections were among the 10 essential reads announced on the WP website. Their list was headed by Margaret Atwood’s The Handmaid’s Tale, though of her works I’d be more likely to direct men to Oryx and Crake.
I’ve seen discussions on Twitter about why men don’t read novels (at all, prioritizing nonfiction), or specifically not ones by women. Do you have any theories?
What one book by a woman do you think all men should read?
Women’s Prize Longlist Reviews (Erdrich, Mendelson, Ozeki) & Predictions
Tomorrow the Women’s Prize shortlist will be revealed. I’ve become much more invested in this prize over the past few years and will be following the 2022 race especially closely – look out for a related announcement soon. In recent years the nominees have tended to cluster thematically, which can feel redundant. This longlist has a notably high ghost quotient. Two novels I review below feature unquiet spirits, an appearance by the author, and the magical powers of books. The third is a straightforward contemporary dysfunctional family story.
The Sentence by Louise Erdrich
My second from Erdrich (I gave Love Medicine, her first novel, 5 stars in 2020). I will be revisiting this in June because it is our first pick for my tenure in the Literary Wives online book club. For that post I’ll focus on the relationship between Tookie and Pollux, which I won’t mention in this more general response. I was worried that a take on very recent events – this is set in Minneapolis between 2019 and 2020 and covers the first six months of the pandemic plus local protests following George Floyd’s murder – would seem either rushed or dated. I’m still unsure how I feel about encountering Covid-19 in fiction (vs. I’ve read 20 or more nonfiction records now), but I think this novel functions as a sturdy time capsule.
Tookie, the narrator, has a tough exterior but a tender heart. When she spent 10 years in prison for a misunderstanding-cum-body snatching, books helped her survive, starting with the dictionary. Once she got out, she translated her love of words into work as a bookseller at Birchbark Books, Louise Erdrich’s Minnesota independent bookshop (Louise herself is an occasional character). Bibliophiles are sure to enjoy the mentions of the books she presses into customers’ hands; there’s also a fun appendix of recommendations on particular topics.
However, the central mystery about Flora, a dead customer who haunts the store until Tookie figures out why she died and how to exorcise her, struck me as silly. I only appreciated this storyline to the extent that it explores authenticity (Flora may have fabricated her Native heritage) and the inescapability of history. I preferred real life: Tookie getting locked down with her stepdaughter and baby grandson and filling book orders from a closed shop.
Erdrich weaves in Indigenous customs naturally and the banter between the characters, including young shop employees, makes this hip and lighthearted, even as it deals with serious subjects. I smiled at the bookish lingo, like Tookie’s division of her reading into a Lazy Stack and a Hard Stack (“books I would avoid reading until some wellspring of mental energy was uncapped” – my occasional and set-aside titles could comprise the latter) and the “cowbirds,” self-published titles secreted on the shelves that aren’t found until inventory day. There’s also an excellent passage on novellas that I’ll be bringing out in November.
Like a vintage armchair, this is a little overstuffed, but so comfortable you’ll want to stay a while. (See also Laura’s review.) (Public library)
The Exhibitionist by Charlotte Mendelson
~SPOILERS IN THIS ONE~
Artists, dysfunctional families, and limited settings (here, one crumbling London house and its environs; and about two days across one weekend) are irresistible elements for me, and I don’t mind a work being peopled with mostly unlikable characters. That’s just as well, because the narrative orbits Ray Hanrahan, a monstrous narcissist who insists that his family put his painting career above all else. His wife, Lucia, is a sculptor who has always sacrificed her own art to ensure Ray’s success. But now Lucia, having survived breast cancer, has the chance to focus on herself. She’s tolerated his extramarital dalliances all along; why not see where her crush on MP Priya Menon leads? What with fresh love and the offer of her own exhibition in Venice, maybe she truly can start over in her fifties.
Ray and Lucia’s three grown children, Leah, Patrick and Jess, are all home for Ray’s new exhibition. They’re mere sketches: Leah is Ray’s staunchest supporter and is infatuated with the no-show caterer; Patrick’s mental health is shaky, interfering with his job prospects; Jess, a teacher in Edinburgh, is pregnant but not sure she’s committed to her boyfriend long term. I wanted more depth from all the characters, but especially the offspring. I also expected a climactic late scene on Hampstead Heath to come to more.
Still, the build-up to the exhibit (followed by a laughably pitiful reveal) and Lucia’s inner life form an adequately strong foundation for Mendelson’s sardonic prose. The dialogue, full of interruptions, is true to life. This is her fifth novel and called to mind Jami Attenberg’s and Claire Fuller’s work. (Liz found shades of Iris Murdoch. Susan loved it, too.) I wouldn’t say I’m compelled to seek out more by Mendelson, but this was a solid read. (Public library)
The Book of Form and Emptiness by Ruth Ozeki
A Tale for the Time Being is one of my favourite novels of the century (and one of my most popular Goodreads reviews ever), My Year of Meats was a terrific backlist read a couple of summers ago, and I’m eager to catch up on All Over Creation. So I’d built up this fourth Ozeki novel in my head, thinking a library setting and magic realist elements presaged something deliciously Murakami-esque.
What I actually found, having limped through it off and on for seven months, was something of a disappointment. A frank depiction of the mental health struggles of the Oh family? Great. A paean to how books and libraries can save us by showing us a way out of our own heads? A-OK. The problem is with the twee way that The Book narrates Benny’s story and engages him in a conversation about fate versus choice.
When Kenji Oh, a jazz musician, is run over by a chicken truck, Annabelle finds herself a single mother to Benny, a troubled teen who starts to hear everyday objects speaking to him. His voices and Annabelle’s hoarding habit jeopardize the viability of their household: Benny spends time on a psychiatric hospital ward for minors and Annabelle is threatened with eviction. For Benny, the library and the acquaintances he makes there – a fellow pedi-psych patient named Alice who calls herself The Aleph, an Eastern European philosopher who goes by The Bottleman (= Slavoj Žižek?), even the Ozeki figure tapping away on her laptop – may be his salvation; for Annabelle, it could be the book Tidy Magic (modelled on Marie Kondo’s work), written by a Buddhist nun. But until then, their stories get very dark indeed.
Concern for the principal pair and their relationship kept me reading even though this is too long and I wearied of Ozeki’s habit of literalizing metaphors (books speaking to people; being crushed by one’s belongings; crows playing a protective role). I’m still sympathetic to Ozeki’s aims, even if she doesn’t quite pull it all off here. If I pit the rather similar The Sentence and The Book of Form and Emptiness against each other, Erdrich comes out ahead.
With thanks to Canongate for the proof copy for review.
I’ve gotten to six books from the longlist so far and have a few more on order at the library. The others I’ve read, with ratings and links to my reviews, are:
Build Your House around My Body by Violet Kupersmith
Sorrow and Bliss by Meg Mason
I’m also partway through The Final Revival of Opal & Nev by Dawnie Walton, which is enjoyable enough but, alas, suffers in comparison to Daisy Jones and the Six, whose format (a composite oral history of a fictional 1960s/70s musical act) it repeats. The addition of the race issue doesn’t feel sufficient to call it original.
I’ve also DNFed a few from the longlist, two of them multiple times, so I have my fingers crossed that they don’t advance!
- The Paper Palace by Miranda Cowley Heller
- The Island of Missing Trees by Elif Shafak
- Great Circle by Maggie Shipstead
My attitude to the rest of the longlist is…
- The Bread the Devil Knead by Lisa Allen-Agostini – No plans to read.
- Salt Lick by Lulu Allison – I might read this from the library. I’m leery of dystopias, but I’m there for a chorus of cows.
- Careless by Kirsty Capes – No plans to read.
- Remote Sympathy by Catherine Chidgey – I would happily read it if it’s shortlisted, but at over 500 pages I fear it’ll be too dense.
- Flamingo by Rachel Elliott – Maybe. Sounds like pretty standard Sarah Winman-type stuff, but it could go down well with a book club.
- This One Sky Day by Leone Ross – No plans to read.
- Creatures of Passage by Morowa Yejidé – I was actually pretty keen to read this one, so I have it on reserve at the library. Egyptian mythology makes a change from the overdone Greeks, and the Washington, D.C. setting is a big draw. Laura’s review has tempered my expectations, but I might still give it a go.
My ideal shortlist (a wish list based on my reading and what I still want to read):
The Sentence by Louise Erdrich
Build Your House around My Body by Violet Kupersmith
Sorrow and Bliss by Meg Mason
The Exhibitionist by Charlotte Mendelson
The Final Revival of Opal & Nev by Dawnie Walton
Creatures of Passage by Morowa Yejidé
My predicted shortlist:
Remote Sympathy by Catherine Chidgey
The Sentence by Louise Erdrich
Sorrow and Bliss by Meg Mason
The Exhibitionist by Charlotte Mendelson
This One Sky Day by Leone Ross
The Island of Missing Trees by Elif Shafak
An overall winner? Gosh, it’s too early to tell. But maybe The Sentence, Sorrow and Bliss or The Island of Missing Trees.
See also Laura’s shortlist predictions.
What have you read from the longlist so far?
Which of these books are calling to you?
#NonFicNov: Being the Expert on Covid Diaries
This year the Be/Ask/Become the Expert week of the month-long Nonfiction November challenge is hosted by Veronica of The Thousand Book Project. (In previous years I’ve contributed lists of women’s religious memoirs (twice), accounts of postpartum depression, and books on “care”.)
I’ve been devouring nonfiction responses to COVID-19 for over a year now. Even memoirs that are not specifically structured as diaries take pains to give a sense of what life was like from day to day during the early months of the pandemic, including the fear of infection and the experience of lockdown. Covid is mentioned in lots of new releases these days, fiction or nonfiction, even if just via an introduction or epilogue, but I’ve focused on books where it’s a major element. At the end of the post I list others I’ve read on the theme, but first I feature four recent releases that I was sent for review.
Year of Plagues: A Memoir of 2020 by Fred D’Aguiar
The plague for D’Aguiar was dual: not just Covid, but cancer. Specifically, stage 4 prostate cancer. A hospital was the last place he wanted to spend time during a pandemic, yet his treatment required frequent visits. Current events, including a curfew in his adopted home of Los Angeles and the protests following George Floyd’s murder, form a distant background to an allegorized medical struggle. D’Aguiar personifies his illness as a force intent on harming him; his hope is that he can be like Anansi and outwit the Brer Rabbit of cancer. He imagines dialogues between himself and his illness as they spar through a turbulent year.
Cancer needs a song: tambourine and cymbals and a choir, not to raise it from the dead but [to] lay it to rest finally.
Tracing the effects of his cancer on his wife and children as well as on his own body, he wonders if the treatment will disrupt his sense of his own masculinity. I thought the narrative would hit home given that I have a family member going through the same thing, but it struck me as a jumble, full of repetition and TMI moments. Expecting concision from a poet, I wanted the highlights reel instead of 323 rambling pages.
(Carcanet Press, August 26.) With thanks to the publisher for the free copy for review.
100 Days by Gabriel Josipovici
Beginning in March 2020, Josipovici challenged himself to write a diary entry and mini-essay each day for 100 days – which happened to correspond almost exactly to the length of the UK’s first lockdown. Approaching age 80, he felt the virus had offered “the unexpected gift of a bracket round life” that he “mustn’t fritter away.” He chose an alphabetical framework, stretching from Aachen to Zoos and covering everything from his upbringing in Egypt to his love of walking in the Sussex Downs. I had the feeling that I should have read some of his fiction first so that I could spot how his ideas and experiences had infiltrated it; I’m now rectifying this by reading his novella The Cemetery in Barnes, in which I recognize a late-life remarriage and London versus countryside settings.
Still, I appreciated Josipovici’s thoughts on literature and his own aims for his work (more so than the rehashing of Covid statistics and official briefings from Boris Johnson et al., almost unbearable to encounter again):
In my writing I have always eschewed visual descriptions, perhaps because I don’t have a strong visual memory myself, but actually it is because reading such descriptions in other people’s novels I am instantly bored and feel it is so much dead wood.
nearly all my books and stories try to force the reader (and, I suppose, as I wrote, to force me) to face the strange phenomenon that everything does indeed pass, and that one day, perhaps sooner than most people think, humanity will pass and, eventually, the universe, but that most of the time we live as though all was permanent, including ourselves. What rich soil for the artist!
Why have I always had such an aversion to first person narratives? I think precisely because of their dishonesty – they start from a falsehood and can never recover. The falsehood that ‘I’ can talk in such detail and so smoothly about what has ‘happened’ to ‘me’, or even, sometimes, what is actually happening as ‘I’ write.
You never know till you’ve plunged in just what it is you really want to write. When I started writing The Inventory I had no idea repetition would play such an important role in it. And so it has been all through, right up to The Cemetery in Barnes. If I was a poet I would no doubt use refrains – I love the way the same thing becomes different the second time round
To write a novel in which nothing happens and yet everything happens: a secret dream of mine ever since I began to write
I did sense some misogyny, though, as it’s generally female writers he singles out for criticism: Iris Murdoch is his prime example of the overuse of adjectives and adverbs, he mentions a “dreadful novel” he’s reading by Elizabeth Bowen, and he describes Jean Rhys and Dorothy Whipple as women “who, raised on a diet of the classic English novel, howled with anguish when life did not, for them, turn out as they felt it should.”
While this was enjoyable to flip through, it’s probably more for existing fans than for readers new to the author’s work, and the Covid connection isn’t integral to the writing experiment.
(Carcanet Press, October 28.) With thanks to the publisher for the free copy for review.
A stanza from the below collection to link the first two books to this next one:
Have they found him yet, I wonder,
whoever it is strolling
about as a plague doctor, outlandish
beak and all?
The Crash Wake and Other Poems by Owen Lowery
Lowery was a tetraplegic poet – wheelchair-bound and on a ventilator – who also survived a serious car crash in February 2020 before his death in May 2021. It’s astonishing how much his body withstood, leaving his mind not just intact but capable of generating dozens of seemingly effortless poems. Most of the first half of this posthumous collection, his third overall, is taken up by a long, multipart poem entitled “The Crash Wake” (it’s composed of 104 12-line poems, to be precise), in which his complicated recovery gets bound up with wider anxiety about the pandemic: “It will take time and / more to find our way / back to who we were before the shimmer / and promise of our snapped day.”
As the seventh anniversary of his wedding to Jayne nears, Lowery reflects on how love has kept him going despite flashbacks to the accident and feeling written off by his doctors. In the second section of the book, the subjects vary from the arts (Paula Rego’s photographs, Stanley Spencer’s paintings, R.S. Thomas’s theology) to sport. There is also a lovely “Remembrance Day Sequence” imagining what various soldiers, including Edward Thomas and his own grandfather, lived through. The final piece is a prose horror story about a magpie. Like a magpie, I found many sparkly gems in this wide-ranging collection.
(Carcanet Press, October 28.) With thanks to the publisher for the free e-copy for review.
Behind the Mask: Living Alone in the Epicenter by Kate Walter
[135 pages, so I’m counting this one towards #NovNov, too]
For Walter, a freelance journalist and longtime Manhattan resident, coronavirus turned life upside down. Retired from college teaching and living in Westbeth Artists Housing, she’d relied on activities outside the home for socializing. To a single extrovert, lockdown offered no benefits; she spent holidays alone instead of with her large Irish Catholic family. Even one of the world’s great cities could be a site of boredom and isolation. Still, she gamely moved her hobbies onto Zoom as much as possible, and welcomed an escape to Jersey Shore.
In short essays, she proceeds month by month through the pandemic: what changed, what kept her sane, and what she was missing. Walter considers herself a “gay elder” and was particularly sad the Pride March didn’t go ahead in 2020. She also found herself ‘coming out again’, at age 71, when she was asked by her alma mater to encapsulate the 50 years since graduation in 100 words.
There’s a lot here to relate to – being glued to the news, anxiety over Trump’s possible re-election, looking forward to vaccination appointments – and the book is also revealing on the special challenges for older people and those who don’t live with family. However, I found the whole fairly repetitive (perhaps as a result of some pieces originally appearing in The Village Sun and then being tweaked and inserted here).
Before an appendix of four short pre-Covid essays, there’s a section of pandemic writing prompts: 12 sets of questions to use to think through the last year and a half and what it’s meant. E.g. “Did living through this extraordinary experience change your outlook on life?” If you’ve been meaning to leave a written record of this time for posterity, this list would be a great place to start.
(Heliotrope Books, November 16.) With thanks to the publicist for the free e-copy for review.
Other Covid-themed nonfiction I have read:
- Breathtaking by Rachel Clarke
- Intensive Care by Gavin Francis
- Every Minute Is a Day by Robert Meyer and Dan Koeppel (reviewed for Shelf Awareness)
- Duty of Care by Dominic Pimenta
- Many Different Kinds of Love by Michael Rosen
+ I have a proof copy of Everything Is True: A Junior Doctor’s Story of Life, Death and Grief in a Time of Pandemic by Roopa Farooki, coming out in January.
- Goshawk Summer by James Aldred
- The Heeding by Rob Cowen (in poetry form)
- Birdsong in a Time of Silence by Steven Lovatt
- The Consolation of Nature by Michael McCarthy, Jeremy Mynott and Peter Marren
- Skylarks with Rosie by Stephen Moss
- Hold Still (a National Portrait Gallery commission of 100 photographs taken in the UK in 2020)
- The Rome Plague Diaries by Matthew Kneale
- Quarantine Comix by Rachael Smith (in graphic novel form; reviewed for Foreword Reviews)
- UnPresidented by Jon Sopel
+ on my Kindle: Alone Together, an anthology of personal essays
+ on my TBR: What Just Happened: Notes on a Long Year by Charles Finch
If you read just one… Make it Intensive Care by Gavin Francis. (And, if you love nature books, follow that up with The Consolation of Nature.)
Can you see yourself reading any of these?
The 1976 Club: Woman on the Edge of Time & The Takeover
It’s my fourth time participating in one of Simon and Karen’s reading weeks (after last year’s 1920 Club and 1956 Club and April’s 1936 Club). I start with a novel I actually read for my book club’s short-lived feminist classics subgroup way back in March but didn’t manage to review before now, and then have another I picked up especially for this challenge. Both were from the university library.
Woman on the Edge of Time by Marge Piercy
An unusual and fascinating novel with hints of science fiction, but still grounded in the real world (in a way that would attract fans of Octavia E. Butler’s Kindred and Parable duology), this contrasts utopian and dystopian scenes experienced by a Latina woman who’s been confined to a mental hospital. At 37, Connie Ramos has had a tough life marked by deprivation and domestic violence; “it was a crime to be born poor as it was a crime to be born brown.” She finds herself in conversation with Luciente, a plant geneticist who claims to be visiting from the future – coastal Massachusetts in 2137 – and has heard rumors of this prior Age of Greed and Waste. Luciente senses that Connie is a “catcher,” receptive to the wavelength of other times and places.
When drawn into Luciente’s future, Connie thinks of it more as a peasant past because of the animal husbandry and agriculture, but comes to appreciate how technology and gender equality contribute to a peaceful society and environmentally restored landscape. I was intrigued by the dynamic Piercy imagines: everyone is of indeterminate gender (the universal pronouns are “person” and “per” – how about it? Both less confusing and more aesthetically pleasing than they/them!); embryos are cultured in machines and the resulting children raised communally with three honorary named “mother” figures. People choose their own names and change them in response to rites of passage. There’s no government or police. Free love reigns. “Our notions of evil center around power and greed” rather than sex, Connie is told.
With Connie and her fellow inmates facing mind-altering surgery in the ‘real’ world, Luciente’s community becomes a blessed escape. But on one of her time travels, she ends up in a dystopian future New York City instead. From 126 floors up, all that’s visible through the smoggy air is other towers. Everyone is genetically modified and everything is owned by corporations. Which scenario represents the authentic evolution of human society?
The way Piercy intersperses these visions with life at the mental hospital, and closes with excerpts from Connie’s patient notes, forces you to question whether they might all be hallucinations. We didn’t come to any firm conclusion during our Zoom discussion. The others found Connie’s life unremittingly bleak, but I love me a good mental hospital narrative. While I wearied a bit of the anthropological detail as the novel went on, I thought it an intense cultural commentary from a writer ahead of her time on gender roles and the environment (small-scale food production, foraging, renewable energy and reusing/recycling are givens in her utopia, and she questions the nonsensical reliance on cars. Why didn’t we listen to the prophets of the 1970s when we maybe had a chance to turn things around?!).
The Takeover by Muriel Spark
Had I read this in manuscript with no author name attached, I might have declared it to have been written by Iris Murdoch for the clutch of amoral characters, the love triangles, the peculiar religious society, the slight meanness of the attitude, and the detachment of the prose. Maggie Radcliffe is a rich American who owns three houses in the vicinity of Rome, one of which she rents out to Hubert Mallindaine, an effete homosexual who alleges that he is descended from the goddess Diana and founds a cult in her honour. He holds to this belief as fiercely as he defends his right to remain at Nemi even when Maggie decides she wants him out and employs lawyers to start eviction proceedings. There are odd priests, adulterous family members, scheming secretaries, and art and jewellery thieves, too. I wouldn’t say I’m a fan, but I liked this, my fourth novel by Spark, better than the rest. Italian bureaucracy makes for an amusing backdrop to what is almost a financial farce with an ensemble cast.
Another 1976 release I’ve reviewed this year: The Easter Parade by Richard Yates.
Miscellaneous Novellas: Murdoch, Read & Spark; Comics; Art Books
Novellas in November will be coming to a close on Monday and has been a great success in terms of blogger engagement. I’ve been adding review links to the master post nearly every day of the month, and I’m sure there are some I have missed. Although I still have a couple of novellas on the go, I don’t see myself finishing them this month, so I’m going to end with this set: three short classics to continue the week’s theme, two graphic novels, and a pair of nature/art/music/poetry books.
Something Special by Iris Murdoch (1957)
A Murdoch rarity, this appeared in a 1950s anthology and in an English-language textbook in Japan, but was not otherwise published in the author’s lifetime. I think it’s her only short story. I’m counting it as a novella because it was published as a stand-alone volume by Vintage Classics in 2000. Twenty-four-year-old Yvonne Geary doesn’t know precisely what she wants from life, but hopes there might be more for her than a conventional marriage to Sam, her beau. “Can’t I live my life as I please since it’s the only thing I have?” she asks her hen-pecking mother. “I can’t see him as something special and I won’t marry him if I can’t.” Maybe she’ll escape to England. But for now she’s off for a night on the town in Dublin with Sam, going from a rowdy pub to the quiet of a locked-up park. Sam may be dull, but he seems sensitive, solicitous and well-meaning. Yvonne’s feelings for him flip-flop over the course of the evening. I’ve noticed before that Murdoch is a bit funny about Jewishness, but this is still a brisk, bittersweet story in the direct lineage of Sally Rooney’s Normal People. (With striking black-and-white woodcut-style illustrations by Michael McCurdy.)
The Fairacre Festival by ‘Miss Read’ (1968)
I’m not sure why I’d never tried anything by ‘Miss Read’ (the pseudonym of Dora Jessie Saint, a teacher turned author who was based not far from me in Berkshire) until now. She wrote two series of quaint novels set in the fictional villages of Fairacre and Thrush Green; this is #7 in the Fairacre series. Miss Read, her narrator, is a schoolteacher who records her wry observations of all the local happenings. After an autumn storm damages the church roof, the parishioners are dismayed to learn the renovations could cost £2000. No amount of jumble sales, concerts and tea dances will raise that much. So they set their sights higher, to an Edinburgh-style festival with a light show and an appearance from a famous opera singer. But it’s not going to be smooth sailing now, is it? This was cozy, quaint fun, and if I wished it had been a full-length book, that means I’ll just have to begin at the beginning with 1955’s Village School.
The Driver’s Seat by Muriel Spark (1970)
Lise has her “glad rags” on – bright new clothes in clashing patterns that strangers can’t help commenting on. The 34-year-old single woman has worked in an accounting office for the last 16 years and is now off to the South (Italy?) for a long-awaited vacation. This will be no blissful holiday, though. Just 11 pages in, we get our first hint that things are going to go wrong, and in the opening line of Chapter 3 Spark gives the game away. Clearly, her intention is to subordinate what happens to why it happens, so the foreshadowing of the early chapters is twisted to ironic effect later on. Lise is an unappealing character, haughty and deceitful, and the strangers she meets on the flight and at the hotel, including a man obsessed with the macrobiotic diet, are little better. I felt I didn’t have enough time to change my mind about Lise before we’re asked to have pity. Of course, this is meant to be a black comedy, but it was a little abrasive for my taste. This was my third and probably last from Spark, as I haven’t particularly enjoyed any of her work; I do love this pithy description of The Ballad of Peckham Rye, though: “An entertaining tale of satanism in South London.”
Why Don’t You Write My Eulogy Now So I Can Correct It? A Mother’s Suggestions by Patricia Marx, illus. Roz Chast (2019)
I loved Chast’s graphic memoir Can’t We Talk about Something More Pleasant? and figured this would have the same witty approach to an elderly parent’s decline. Apart from a brief introduction to her mother (from Philadelphia, outspoken, worked as a guidance counselor and for her husband’s office supplies company), there is hardly any text; the rest is just illustrated one-liners, sayings her mother had or opinions she espoused. Many of these have to do with fashion no-nos, dinner party etiquette, grammar pedantry, avoiding the outdoors and exercise, and childrearing. “My mother never hesitates to say what other mothers would not even think to think. She calls it constructive criticism.” She reminds me of Bess Kalb’s grandmother in Nobody Will Tell You This but Me, an overall much funnier and more complete picture of an entertaining figure.
The Exciting World of Churchgoing by Dave Walker (2010)
A third set of Church Times comics, not as memorable as the original Dave Walker Guide to the Church. Once again, Walker pokes fun at bureaucracy, silly traditions, closed-mindedness, and the oddities of church buildings and parishioners’ habits. You really need to be familiar with the UK churchgoing scene, and specifically with Anglican churches, to get much out of the cartoons. I loved “According to legend, there is a lady who changes the teatowels in the church kitchen from time to time” and the “Infestations” spread that starts with bats and wasps and moves on to Charismatics. Most striking are two pages on church proceedings during swine flu – what was meant to be a joke doesn’t seem so funny now that it literally describes in-person services during COVID-19: “Shaking hands during the peace should be replaced by a friendly wave,” “Administration of anti-bacterial gel should take place,” etc.
The Lost Words: A Spell Book by Robert Macfarlane, illus. Jackie Morris (2017)
Macfarlane’s work has been hit or miss for me and I was suspicious of this project in general, thinking it would be twee or juvenile, but the beauty of the artwork and playful energy of the poems won me over. It’s common knowledge that this book arose as a response to news that many words to do with nature had been removed from the latest version of a junior dictionary published in the UK, to be replaced by technology vocabulary. Macfarlane spotlights these omitted words through acrostic poems alive with alliteration (“Fern’s first form is furled, / Each frond fast as a fiddle-head”), wordplay and internal rhymes. He peppers in questions, both rhetorical and literal-minded, and exclamations. Conker, Dandelion, Lark and Otter are highlights. Morris’s wildlife paintings are superb, with a Giotto-like gilt portrait facing each poem and two-page in situ tableaux in between.
The Lost Words Spell Songs (2019)
I followed up immediately with this companion book to the 14-track album a group of eight folk musicians made in response to The Lost Words. We were already fans of Kris Drever (mostly via Lau), Karine Polwart and Beth Porter (via the Bookshop Band), and became familiar with a few more of the artists (Kerry Andrew, Julie Fowlis and Rachel Newton) earlier this year through the online Folk on Foot festivals. This volume includes six additional poems, four of which directly inspired songs on the album, plus brief bios and words on the project from each artist (each portrayed by Morris as a relevant bird, with the musician serving as the “spirit human” for the bird) the complete lyrics with notes from whoever took the lead on a particular song, and short essays by Macfarlane, Morris (also an interview) and Polwart.
It was interesting to compare the different approaches to the project: five songs directly set Macfarlane’s poetry to music, two of them primarily in spoken word form; five are based on Macfarlane “extras,” like the new spells and the “charm against harm” he wrote during anti-tree felling campaigns like the one in Sheffield; a few are essentially pop songs based around major lines from Dandelion, Goldfinch and Lark (these plus “Selkie-Boy,” based on Grey Seal, ended up being my favorites); one is a traditional song from Seckou Keita’s native Senegal that also incorporates the bilingual Fowlis’s Gaelic to mourn the words that are lost with the past; and one is a final blessing song that weaves in bits from multiple spells. The artists all bring their individual styles, but the collaborations are strong, too.
Are you squeezing in any more novellas this month?
Do you like the sound of any of the ones I’ve read?
Robertson Davies Weekend 2020: The Rebel Angels
Last year for the Robertson Davies readalong, hosted annually by Lory of The Emerald City Book Review, I reviewed Fifth Business, the first volume in The Deptford Trilogy. This time I chose to read the first volume in The Cornish Trilogy, The Rebel Angels (1981). Published 11 years after Fifth Business, it shares a number of that book’s features, including a campus setting and a preoccupation with good and evil. If I can generalize about Davies from having read just two of his books, I would say that his novels engage with philosophy and the Christian tradition, and though he dives into the dark things of life his is an essentially comic vision, giving his work an attractively puckish air.
Maria Magdalena Theotoky is a 23-year-old graduate student at the College of St. John and the Holy Ghost (nicknamed “Spook”) in Toronto. She slept with her advisor, Clement Hollier, precisely once in his office last term. Two events spark the plot: the return of Brother John Parlabane, an ex-monk and -drug addict, and the death of Francis Cornish, a local patron of the arts. Parlabane becomes a university parasite, sleeping on couches and hitting up Maria, Hollier and Anglican priest Simon Darcourt for money. Along with Darcourt and Hollier, Urquhart McVarish, Hollier’s lecherous academic rival, is a third co-executor of Cornish’s artworks and manuscripts. Rumor has it the collection includes a lost manuscript by François Rabelais, the subject of Maria’s research, and Hollier and McVarish fight over it.
They also fight over Maria – no fewer than five male characters fall in love with her over the course of the novel. A sort of Helen of Troy (her first names bring to mind the presumed harlot from the Bible, while her surname means “God-bearer”), she is so beautiful that she sows conflict and heartache wherever she goes. Maria narrates about half of the novel – the other half, in alternating chapters, is by Father Darcourt, who’s writing an everyday history of the university inspired by Aubrey’s Brief Lives – and her coming to terms with her Gypsy heritage is a key element: Maria’s mother, Mamusia, is an entertaining character who tells fortunes and administers love potions, but Maria mostly finds her embarrassing.
Gypsy culture recurs in the book. So does poop. Professor Ozias Froats does research into what effect body type (endomorph, mesomorph, ectomorph) has on fecal samples. Rabelais was a notably scatological writer, and Maria’s mother repairs subpar stringed instruments by storing them in barrels of wool and horse dung. Hollier has an academic interest in medieval excrement therapies, and asks to go see Mamusia’s folk remedy in action. I found this strand very amusing, but it’s further evidence that this novel is not for the squeamish – it also includes one of the most hideous murder methods I’ve encountered in fiction, so beware.
The title refers to angels thrown out of heaven, and is Maria’s shorthand for the trio of Darcourt, Hollier and Parlabane. Parlabane is explicitly likened to Lucifer and Satan, making him an embodiment of evil. For much of the book the homosexual hedonist seems harmless, yet he does engage in all the deadly sins. Gluttony and pride, especially: he has two enormous meals on Maria’s dime, and is determined to get his dense, pretentious autobiographical novel published by any means necessary. However, he carries the book, and I wanted even more of him. (They say Satan is the most interesting character in Paradise Lost, too.)
“To thine own self be true” is a message one might extract from the novel – phrased subtly differently in the Paracelsus quote that gives Parlabane’s novel its title, Be Not Another. Accepting all parts of oneself, even the hidden ones, prevents an inconvenient return of the repressed. Davies’s exploration of the types of human relationships, chaste versus base, suggests that true friendship is superior to sexual love. I greatly enjoy his novels of ideas and would recommend them to readers of Michael Arditti, Julian Barnes, D.H. Lawrence and Iris Murdoch. Shall I go straight on to the Booker-shortlisted What’s Bred in the Bone? I’m intrigued to see what characters and themes will carry over into the second volume.
Some favorite lines:
“The house stank; a stench all its own pervaded every corner. It was a threnody in the key of Cat minor, with a ground-bass of Old Dog, and modulations of old people, waning lives, and relinquished hopes.”
(this seems apt for Davies’s work in general) “some grotesquerie, some wrenching originality, is a necessary part of real scholarship, and brings a special glory with it.”
Source: Oxfam charity shop, Newbury
They Don’t Make ’Em Like That Anymore
Volunteering at my local mall’s free bookshop, I see all manner of outmoded books and cover designs. I seem to be in a blogging slump*, so to keep things ticking over, I’ve compiled a selection of amusing period covers and blurbs I’ve come across there and elsewhere. (I got the Iris Murdochs in a bargain bundle from Oxfam years ago and read them for Liz’s recent readalong; the L’Engle children’s novel, a university library book, was recommended by Buried in Print.)
I can’t imagine that making it into a blurb or book review today…
* More like a general life slump. January is tough for me: after all the cheer and socializing of the holidays, it’s back to the boring everyday and (often) to inescapably damp, cold weather. Many mornings it’s a struggle for me not to go back to bed after my husband leaves for work, and I’m more likely to leave assignments to the last minute. I was unsurprised to recall that today is called “Blue Monday,” while tomorrow is the fifth anniversary of my brother-in-law’s death from brain cancer.
At least it’s been sunny and frosty rather than gray and rainy for the last few days; I even managed to bundle up, don my wellies and spend half an hour reading with the cat on our garden bench this morning. (Our canalside garden is 1/3 flooded, but we’re on slightly higher ground so ours is nowhere near as bad as our neighbors’, which is a lake.)
In terms of books, I’m not particularly excited about at least half of the ones I’m reading. I’m sure I’ll get through them all eventually, but for now I’ve been bingeing on the few that appeal most. I’m working on a couple of thematic roundups (one on winter and another on love and marriage for Valentine’s Day), and will also report on a few recent releases I’ve enjoyed. I am finding, though, that with fewer review copies around, I have less direction and easily find a week or more passing before I think, “what can I blog about?!”
Reading Robertson Davies Week: Fifth Business
I’m grateful to Lory (of The Emerald City Book Review) for hosting this past week’s Robertson Davies readalong, which was my excuse to finally try him for the first time. Of course, Canadians have long recognized what a treasure he is, but he’s less known elsewhere. I do remember that Erica Wagner, one of my literary heroes (an American in England; former books editor of the London Times, etc.), has expressed great admiration for his work.
I started with what I had to hand: Fifth Business (1970), the first volume of The Deptford Trilogy. In the theatre world, the title phrase refers to a bit player who yet has importance to the outcome of a drama, and that’s how the narrator, Dunstan Ramsay, thinks of himself. I was reminded right away of the opening of Charles Dickens’s David Copperfield: “Whether I shall turn out to be the hero of my own life, or whether that station will be held by anybody else, these pages must show.” In the first line Ramsay introduces himself in relation to another person: “My lifelong involvement with Mrs. Dempster began at 5.58 o’clock p.m. on 27 December 1908, at which time I was ten years and seven months old.”
Specifically, he dodged a snowball meant for him – thrown by his frenemy, Percy Boyd Staunton – and it hit Mrs. Dempster, wife of the local Baptist minister, in the back of the head, knocking her over and 1) sending her into early labor with Paul, who also plays a major role in the book; and 2) permanently compromising her mental health. Surprisingly, given his tepid Protestant upbringing, Ramsay becomes a historian of Christian saints, and comes to consider Mrs. Dempster part of his personal pantheon for a few incidents he thinks of as miracles – not least his survival during First World War service. And this is despite Mrs. Dempster being caught in a situation that seriously compromises her standing in Deptford.
The novel is presented as a long, confessional letter Ramsay writes, on the occasion of his retirement, to the headmaster of the boys’ school where he taught history for 45 years. Staunton, later known simply as “Boy,” becomes a sugar magnate and politician; Paul becomes a world-renowned illusionist known by various stage names. Both Paul and Ramsay are obsessed with the unexplained and impossible, but where Paul manipulates appearances and fictionalizes the past, Ramsay looks for miracles. The Fool, the Saint and the Devil are generic characters we’re invited to ponder; perhaps they also have incarnations in the novel?
Fifth Business ends with a mysterious death, and though there are clues that seem to point to whodunit, the fact that the story segues straight into a second volume, with a third to come, indicates that it’s all more complicated than it might seem. I was so intrigued that, thanks to my omnibus edition, I carried right on with the first chapter of The Manticore (1972), which is also in the first person but this time narrated by Staunton’s son, David, from Switzerland. Freudian versus Jungian psychology promises to be a major dichotomy in this one, and I’m sure that the themes of the complexity of human desire, the search for truth and goodness, and the difficulty of seeing oneself and others clearly will crop up once again.
This was a very rewarding reading experience. I’d recommend Davies to those who enjoy novels of ideas, such as Iris Murdoch’s. I’ll carry on with at least the second volume of the trilogy for now, and I’ve also acquired the first volume of another, later trilogy to try.
Some favorite lines:
“I cannot remember a time when I did not take it as understood that everybody has at least two, if not twenty-two, sides to him.”
“Forgive yourself for being a human creature, Ramezay. That is the beginning of wisdom; that is part of what is meant by the fear of God; and for you it is the only way to save your sanity.”
It’s also fascinating to see the contrast between how Ramsay sees himself, and how others do:
“it has been my luck to appear more literate than I really am, owing to a cadaverous and scowling cast of countenance, and a rather pedantic Scots voice”
“Good God, don’t you think the way you rootle in your ear with your little finger delights the boys? And the way you waggle your eyebrows … and those horrible Harris tweed suits you wear … And that disgusting trick of blowing your nose and looking into your handkerchief as if you expected to prophesy something from the mess. You look ten years older than your age.”
Iris Murdoch Readalong: The Sacred and Profane Love Machine (1974)
A later Murdoch – her sixteenth novel – and not one I knew anything about beforehand. In terms of atmosphere, characters and themes, it struck me as a cross between A Severed Head and The Nice and the Good. Like the former, it feels like a play with a few recurring sets: Hood House, where the Gavenders (Blaise, Harriet and David) live; their next-door neighbor Montague Small’s house; and the apartment where Blaise keeps his mistress, Emily McHugh, and their eight-year-old son Luca. A sizeable dramatis personae radiates out from the central love triangle: lodgers, neighbors, other family members, mutual friends and quite a few dogs.
Blaise is a psychoanalyst but considers himself a charlatan because he has no medical degree; he’s considering returning to his studies to rectify that. Harriet reminded me of Kate from The Nice and the Good: a cheerful, only mildly unfulfilled matriarch who is determined to choreograph much of what happens around her. (“She wanted simply to feel the controls firmly in her hands. She wanted to be the recognizer, the authorizer, the welcomer-in, the one who made things respectable and made them real by her cognizance of them.”) Their son David, 16, looks like a Pre-Raphaelite god and is often disgusted by fleshly reality. Montague writes successful but formulaic detective novels and is mourning his wife’s recent death.
I loved how on first introduction to most characters we hear about the dreams from which they’ve just awoken, involving mermaids, cats, dogs and a monster with a severed head. “Dreams are rather marvellous, aren’t they,” David remarks to Monty. “They can be beautiful in a special way like nothing else. Even awful things in dreams have style.” Scenes often open with dreams that feel so real to the characters that they could fool readers into belief.
Blaise knows he can’t sustain his double life, especially after Luca stows away in his car on a couple of occasions to see Hood House. When he confesses to Harriet via a letter, she seems to handle things very well. In fact, she almost glows with self-righteous pride over how reasonably she’s been responding. But both she and Emily end up resentful. Why should Blaise ‘win’ by keeping his wife and his mistress? “You must feel like the Sultan of Turkey,” Emily taunts him. “You’ve got us both. You’ve got away with it.” Here starts a lot of back-and-forth, will-they-won’t-they that gets somewhat tedious. Throughout I noticed overlong sections of internal monologue and narrator commentary on relationships.
There’s a misperception, I think, that Murdoch wrote books in which not much happens, simply because her canvas can be small and domestically oriented. However, this is undoubtedly an eventful novel, including a Shocking Incident that Liz warned about. Foreshadowing had alerted me that someone was going to die, but it wasn’t who or how I thought. When it comes to it, Murdoch is utterly matter-of-fact: “[X] had perished”.
One of the pleasures of reading a Murdoch novel is seeing how she reworks the same sorts of situations and subjects. (Liz has written a terrific review set in the context of Murdoch’s whole body of work.) Here I enjoyed tracing the mother–son relationships – at least three of them, two of which are quite similar: smothering and almost erotic. Harriet later tries to subsume Luca into the family, too. I also looked out for the recurring Murdochian enchanter figure: first Blaise, for whom psychiatry is all about power, and then Harriet.
I hugely enjoyed the first 100 pages or more of the book, but engaged with it less and less as it went on. Ultimately, it falls somewhere in the middle for me among the Murdochs I’ve read. Here’s my ranking of the nine novels I’ve read so far, with links to my reviews:
Favorite: The Bell
The Sea, The Sea
The Sacred and Profane Love Machine
The Black Prince
Least favorite: An Accidental Rose
A favorite passage (this is Monty on the perils of working from home!): “If I had an ordinary job to do I’d have to get on with it. Being self-employed I can brood all day. It’s undignified and bad.”
This is the last of the Murdoch paperbacks I bought as a bargain bundle from Oxfam Books some years ago. I’ll leave it a while – perhaps a year – and then try some earlier Murdochs I’ve been tempted by during Liz’s Iris Murdoch readalong project, such as The Unicorn.
Kinds of Love: Three Books for Valentine’s Day
At about this time of year I try to read a handful of books with “love” in the title. I’m currently reading Iris Murdoch’s The Sacred and Profane Love Machine for the #IMReadalong, and I have one more “love” title towards the end of this post, but it turns out that my focus this year has been more on the kinds of love that tend to get ignored around Valentine’s Day – familial love for one’s ageing parents and grandparents.
Be With: Letters to a Carer by Mike Barnes (2018)
Mike Barnes, a Toronto poet and novelist, has been a primary caregiver for his mother, Mary, in the nine years since her Alzheimer’s diagnosis disease. She grew up on a Saskatchewan farm and is now in her nineties; he’s in his sixties. A bipolar sufferer, Barnes has spent his own fair share of time in hospitals and on disability. He’s moved Mary between care homes four times as her condition has deteriorated. Though he laments her gradual loss of words and awareness of her family, he can still discern instances of her bravery and the beauty of life.
This book of fragments – memories and advice delivered via short letters – was written in between demanding caregiving tasks and is meant to be read in those same gaps. Dementia is one situation in which you should definitely throw money at a problem, Barnes counsels, to secure the best care you can, even round-the-clock nursing help. However, as the title suggests, nothing outweighs simply being there. Your presence, not chiefly to make decisions, but just to sit, listen and place a soothing hand on a forehead, is the greatest gift.
There are many excellent, pithy quotations in this book. Here are a few of my favorites:
“a retreat under fire”
“a passage of exquisite vulnerability”
By your loved one’s side is “Not where things are easy, or satisfactorily achieved, or achievable, or even necessarily pleasant. But where you ought to be, have to be, and are. It brings a peace.”
The goal is “Erring humanely”.
I can imagine this being an invaluable companion for caregivers, to be tucked into a pocket or purse and pulled out for a few moments of relief. On the theme of a parent’s dementia, I’d also recommend Paulette Bates Alden’s book of linked short stories, Unforgettable.
Out now from Myriad Editions. My thanks for the free copy for review.
The Smallest Things: On the enduring power of family: A memoir of tiny dramas by Nick Duerden (2019)
Journalist Nick Duerden always appreciated how his maternal grandparents, Nonna and Nonno, seemed so ordinary and unchanging. Every trip to see them in the Milan suburbs was, comfortingly, the same. He’d muddle along with his meager Italian, and they’d look after him in their usual clucking way. It was only as he reached middle age and realized that his grandparents were undeniably very old – his grandmother is 99 and in a care home at the time of writing – that he realized how lucky he was to still have them in his life and how unlikely it was that they’d be around for much longer.
Duerden compares his small immediate family with his Spanish wife’s large extended one, and his uptight paternal grandparents with the more effusive set. There are also some family secrets still to uncover. I made the mistake of reading a previous nonfiction book of Duerden’s just the week before this one: Get Well Soon (2018), which has a long chapter about his grandparents that told me all I needed to know about them. That’s probably the main reason why this short book struck me as lightweight, though I did ultimately find it a touching tribute, especially to his grandmother. It could make a good Mother’s Day present.
Out today from Elliott & Thompson. My thanks for a proof copy for review.
Love Story by Erich Segal (1970)
This offbeat novella was a bestseller and a successful film. You surely know its most famous line: “Love means not ever having to say you’re sorry.” Oliver Barrett IV is a golden boy: his banker father and previous generations of the eminent Barrett family funded various buildings at Harvard, where Oliver is a hockey player in the late 1960s. Jenny Cavilleri, on the other hand, comes from a single-parent Italian-American family in New Jersey. She’s made it to Radcliffe as a harpsichordist, but her father is just a baker; she’d never be considered good enough for the likes of Oliver. But they meet at the Radcliffe library and, sure enough, fall for each other. She calls him “Preppie”; he calls her a bitch. They’re only partially joking. It may be true love against the odds, but it has an expiration date, as we know from the first line: “What can you say about a twenty-five-year old girl who died?”
I wanted to like this more. There’s a pleasing lightness to the style, but because the whole book is from Oliver’s perspective, I felt like Jenny got short shrift: she’s the wise-cracking gal from the block, and then she’s the innocent victim in the hospital bed. Because this is only about 120 pages, there’s not much space in between for her character to be developed. I was somewhat appalled to learn about a 1977 sequel in which Oliver finds a new love.
(Segal’s daughter Francesca is also a novelist (The Innocents).)