Tag Archives: Kathleen Jamie

Book Serendipity, March to May

I call it “Book Serendipity” when two or more books that I read at the same time or in quick succession have something in common – the more bizarre, the better. This is a regular feature of mine every couple of months. Because I usually have 20–30 books on the go at once, I suppose I’m more prone to such incidents. People frequently ask how I remember all of these coincidences. The answer is: I jot them down on scraps of paper or input them immediately into a file on my PC desktop; otherwise, they would flit away! Feel free to join in with your own.

The following are in roughly chronological order.

  • A sister named Fiona in The Forgotten Waltz by Anne Enright and Leaving Home by Mark Haddon.

 

  • A parent burns a dirty magazine in Mrs. Bridge by Evan S. Connell and The Blood Year Daughter by G.G. Silverman.
  • Sabbath chains, Gaelic sermons, and psalm singing on the very pious Isle of Lewis in John of John by Douglas Stuart (set in the 1990s), then Findings by Kathleen Jamie (essay from the early 2000s). I doubt any of the above can still be found there, though we did note “Respect the Sabbath” signs on playground equipment on our 2022 trip.

 

  • A single mother who won’t answer the phone because she’s afraid of who/what it might be in Blonde by Joyce Carol Oates and The First Day of Spring by Nancy Tucker.

 

  • An orphaned narrator named (Eva) Luna in Eva Luna by Isabel Allende and Fountainville by Tishani Doshi. Then I came across a dog named Luna in Transcription by Ben Lerner! And the main character in one story of Baby in a Box by Sarah Braunstein starts going by her nickname, Luna.
  • There’s a Muriel Rukeyser poem in the anthology Night Feeds and Morning Songs (ed. Ana Sampson) and Rukeyser is a character in Sophie Ward’s Our Better Natures, which I was also reading at the time.

 

  • Eating boiled ham in Ordinary Saints by Niamh Ni Mhaoileoin and I Capture the Castle by Dodie Smith (and boiled turkey in The First Day of Spring by Nancy Tucker).

 

  • Checking a hotel room for bedbugs in Transcription by Ben Lerner and Half His Age by Jennette McCurdy.

 

  • A young person writing in shorthand in I Capture the Castle by Dodie Smith and First Class Murder by Robin Stevens.

 

  • A character named Emmie in Transcription by Ben Lerner and (no surprise here) Emmie Arbel: The Colour of Memory by Barbara Yelin.

 

  • Noting that roses are not suited to a particular climate in The Memory of Borrowed Books by Meg Anderson and Late Migrations by Margaret Renkl.
  • A Welsh character named Owain in Fountainville by Tishani Doshi and Bog Child by Siobhan Dowd.

 

  • The Secret Garden is discussed/mentioned in Reading My Mother Back by Timothy C. Baker and Mare by Emily Haworth-Booth, and mentioned in The Memory of Borrowed Books by Meg Anderson.

 

  • The protagonist is emotionless at their mother’s deathbed in Like Mother by Jenny Diski and Leaving Home by Mark Haddon.
  • (Apologies: this one is grim.) A young woman is sexually assaulted with a bottle in The Benefactors by Wendy Erskine and The Truth about Ruby Cooper by Liz Nugent (both Irish novelists).

 

  • A husband is involved in a deliberate (suicidal) crash in Show Me Where It Hurts by Claire Gleeson and one story of I Am the Ghost Here by Kim Samek.

 

  • Ali Baba’s cave is used as a metaphor in The Usual Desire to Kill by Camilla Barnes and Rita Hayworth and Shawshank Redemption by Stephen King.
  • A brother- and sister-in-law have an affair in the two Portuguese novels I read on my Portugal holiday, The Migrant Painter of Birds by Lídia Jorge and The Piano Cemetery by José Luís Peixoto.

 

  • A woman describes her discovery of orgasm in The Half Life by Rachel Beanland and The High Mountains of Portugal by Yann Martel.

 

  • ‘There are two kinds of people…’ thinking in The Mighty Red by Louise Erdrich and one story of It Will Come Back to You by Sigrid Nunez.
  • Money is hidden behind a boiler in The Mighty Red by Louise Erdrich and The Murderer’s Ape by Jakob Wegelius.

 

  • The surname Callaway in The Half Life by Rachel Beanland and Calloway in The Watersmith by Yance Wyatt.

 

  • Louise Erdrich, whose The Mighty Red I was reading at the time, is mentioned in The Madman’s Guide to Stamp Collecting by Robert Irwin.

 

  • A minor character named Genevieve appears in Our Numbered Bones by Katya Balen and The Watersmith by Yance Wyatt.
  • The Mighty Red by Louise Erdrich is the second novel I’ve read within eight months (after The Wedding People by Alison Espach) in which a reluctant bride is saddled with a groom named Gary.

 

  • A mountain lion sighting in The Mighty Red by Louise Erdrich and Learning from Silence by Pico Iyer.

 

  • A character has a love of Agatha Christie novels in The High Mountains of Portugal by Yann Martel and Buckeye by Patrick Ryan.
  • A character with the nickname Kitten in Nonesuch by Francis Spufford (particularly funny because it’s for a thug) and Kitten by Stacey Yu.

 

  • Reading two queer novels with an academic writing course setting at the same time: Almost Life by Kiran Millwood Hargrave and Kingfisher by Rozie Kelly.

 

  • A remark about the rare beauty of black hair with blue eyes in Kingfisher by Rozie Kelly and My Year in Paris with Gertrude Stein by Deborah Levy.
  • An STD is evidence of a husband’s infidelity in The Daffodil Days by Helen Bain and A Beautiful Loan by Mary Costello.

 

  • Bottles being used to hold picnic meals / foraged blackberries (noted because these days it would be plastic pots for everything) in Zami by Audre Lorde (the 1940s) and The Daffodil Days by Helen Bain (the 1960s).

 

  • Kismet is a character name in The Mighty Red by Louise Erdrich, so I was primed to notice the word being used in Almost Life by Kiran Millwood Hargrave (it’s a synonym for fate).

 

  • A writer who faces the wall to work in The Daffodil Days by Helen Bain (Ted Hughes, that is) and The Autobiography of Alice B. Toklas by Gertrude Stein (referring to Alice B. Toklas!).

 

  • A painting of an Arctic tern features in The Migrant Painter of Birds by Lídia Jorge (on the cover) and Kingfisher by Rozie Kelly.

 

  • Hot milk is drunk in The Memory of Borrowed Books by Meg Anderson, Kingfisher by Rozie Kelly (with Ovaltine), Nonesuch by Francis Spufford, and Kitten by Stacey Yu.
  • William James is mentioned in My Year in Paris with Gertrude Stein by Deborah Levy and Wise by Frank Tallis.

 

  • Algerian Muslim men appear in A Beautiful Loan by Mary Costello and Moveable Feasts by Chris Newens.

 

  • A pet cat was found on the shore in The Memory of Borrowed Books by Meg Anderson and Kitten by Stacey Yu.

 

  • Bringing cherries to an invalid in Almost Life by Kiran Millwood Hargrave and Kingfisher by Rozie Kelly.

 

  • Sex with a woman who has a mastectomy scar in Kingfisher by Rozie Kelly and Zami by Audre Lorde.

  • A sighting of a kingfisher as auspicious in Kingfisher by Rozie Kelly and Transcription by Ben Lerner.

 

  • The idea that former lovers leave a mark on people in Almost Life by Kiran Millwood Hargrave and Zami by Audre Lorde.

 

  • Pet cat(s) do themselves a mischief by getting into paint supplies in Zami by Audre Lorde and Kitten by Stacey Yu.

 

  • A Sandymount, Dublin setting in A Beautiful Loan by Mary Costello and Hood by Emma Donoghue.
  • An Irish family where the mother and one daughter move to the USA and the father and other daughter stay behind in Hood by Emma Donoghue and The Truth about Ruby Cooper by Liz Nugent (both Irish novelists).

 

  • The concept of a “funeral cake” in The Mighty Red by Louise Erdrich and Kingfisher by Rozie Kelly.

 

  • A character regrets wearing eye makeup on an emotional occasion in The Memory of Borrowed Books by Meg Anderson and Kingfisher by Rozie Kelly.

 

  • My second Irish novel of the year that takes place over one week: Hood by Emma Donoghue (after One by One in the Dark by Deirdre Madden).

 

  • A cat of confusing gender: Grace is male in Hood by Emma Donoghue and Bob is always referred to as “it” in My Year in Paris with Gertrude Stein by Deborah Levy.

 

  • The idea that it’s rare for a woman to a) be a good storyteller (in The Torrents of Spring by Ivan Turgenev) or b) tell a punchline with a straight face (in The Correspondent by Virginia Evans – at least the man gets called out on his sexist opinion in this case). I also noticed the use of the word “caprice” in both books (and also in Turgenev’s First Love) because it’s unusual and I like it.

 

  • Another grim, grim one: reading two books at the same time in which a woman is / women are drugged and raped while unconscious (A Hymn to Life by Gisèle Pelicot and Women Talking by Miriam Toews).
  • I read two short stories in quick succession about a peasant porter who carries a broom: “A Real Durwan” by Jhumpa Lahiri (from Interpreter of Maladies) followed by “Mumu” by Ivan Turgenev.

 

  • An older woman insists that she still is/has a little girl inside in The Correspondent by Virginia Evans and A Hymn to Life by Gisèle Pelicot.

 

  • The number 7 has magical significance for the author in Ghost Stories by Siri Hustvedt and A Hymn to Life by Gisèle Pelicot.

 

  • A couple meets when they see each other reading the same book in an outdoor location: A Lover’s Discourse by Roland Barthes in Almost Life by Kiran Millwood Hargrave; and The Great Gatsby in Sunset Park by Paul Auster.

 

  • Alison Bechdel’s Dykes to Watch Out For is mentioned in Hood by Emma Donoghue; I was reading a Bechdel book, The Secret of Superhuman Strength, at the same time.

 

  • Gnats are irksome in Sunset Park by Paul Auster and Lost Lambs by Madeline Cash.

What’s the weirdest reading coincidence you’ve had lately?

Miscellaneous for #ReadIndies: Grenville & Holman-Hunt, Trans History & Travel Poetry, Kathleen Jamie & Kristen Zory King

Squeaking in some more reviews on the last day of a challenge, as is my wont. Today I have mini-responses to a wide selection: a graphic novel companion to LGBTQ history, an exposé that will have you checking the ingredients lists on all your toiletries and other household cleaning products, a memoir of an eccentric Edwardian childhood, poems about modes of travel and the states of mind they produce, superb nature essays blending personal and environmental writing, and a mini collection of flash fiction about young women.

 

Trans History: From Ancient Times to the Present Day by Alex L. Combs and Andrew Eakett (2025)

Queer people of all varieties have always been with us; they just might have understood their experience or talked about it in different terms. So while Combs and Eakett are careful not to apply labels retrospectively, they feature a plethora of people who lived as a different gender to that assigned at birth. Apart from a few familiar names like Lili Elbe and Marsha P. Johnson, most were new to me. For every heartening story of an emperor, monk or explorer who managed to live out their true identity in peace, there are three distressing ones of those forced to conform. Many Indigenous cultures held a special place for gender-nonconforming individuals; colonizers would have seen this as evidence of desperate need of civilizing. Even doctors who were willing to help with early medical transitions retained primitive ideas about gender and its connection to genitals. The structure is chronological, with a single colour per chapter. Panes reenact scenes and feature talking heads explaining historical developments and critical theory. A final section is devoted to modern-day heroes campaigning for trans rights and seeking to preserve an archive of queer history. This was a little didactic, but ideal for teens, I think, and certainly not just one for gender studies students.

Readalike: Meg-John Barker’s Sexuality: A Graphic Guide

(Read via Edelweiss) [Candlewick Press]

 

The Case Against Fragrance by Kate Grenville (2017)

File this with other surprising nonfiction books by well-known novelists. In 2015, Grenville started struggling while on a book tour: everything from a taxi’s air freshener and a hotel’s cleaning products to a fellow passenger’s perfume was giving her headaches. She felt like a diva for stipulating she couldn’t be around fragrances, but as she started looking into it she realized she wasn’t alone. I thought this was just going to be about perfume, but it covers all fragranced products, which can list “parfum” on their ingredients without specifying what that is – trade secrets. The problem is, fragrances contain any of thousands of synthetic chemicals, most of which have never been tested and thus are unregulated. Even those found to be carcinogens or endocrine disruptors in rodent studies might be approved for humans because it’s not taken into account how these products are actually used. Prolonged or repeat contact has cumulative effects. The synthetic musks in toiletries and laundry detergents are particularly bad, acting as estrogen mimics and likely associated with prostate and breast cancer. I tend to buy whatever’s on offer in Boots, but as soon as my Herbal Essences bottle is empty I’m going back to Faith in Nature (look for plant extracts). The science at the core of the book is a little repetitive, but eased by the social chapters to either side, and you can tell from the footnotes that Grenville really did her research.

Readalike: Chris van Tulleken’s Ultra-Processed People

(Secondhand – gift from my wish list) [Text Publishing]

 

My Grandmothers and I by Diana Holman-Hunt (1960)

The author was the granddaughter of Pre-Raphaelite painter William Holman Hunt (The Light of the World et al.). While her father was away in India, she was shunted between two homes: Grandmother and Grandfather Freeman’s Sussex estate, and the mausoleum-cum-gallery her paternal grandmother, “Grand,” maintained in Kensington. The grandparents have very different ideas about the sorts of foodstuffs and activities that are suitable for little girls. Both households have servants, but Grand only has the one helper, Helen. Grand probably has a lot of money tied up in property and paintings but lives like a penniless widow. Grand encourages abstemious habits – “Don’t be ruled by Brother Ass, he’s only your body and a nuisance” – and believes in boiled milk and margarine. The single egg she has Helen serve Diana in the morning often smells off. “Food is only important as fuel; whether we like it or not is quite immaterial,” Grand insists. Diana might more naturally gravitate to the pleasures of the Freeman residence, but when it comes time to give a tour of the Holman Hunt oeuvre, she does so with pride. There are some funny moments, such as Diana asking where babies come from after one of the Freemans’ maids gives birth, but this felt so exaggerated and fictionalized – how could she possibly remember details and conversations at the distance of several decades? – that I lost interest by the midpoint.

Readalike: Gwen Raverat’s Period Piece

(Secondhand – Community Furniture Project) [Slightly Foxed]

 

In Transit: Poems of Travel, ed. Sarah Jackson and Tim Youngs (2018)

Some methods of transport are just more romantic than others. The editors’ introduction notes that “Trains were by far the most popular … followed by aeroplanes and then boats.” Walks and car journeys were surprisingly scarce, they observed, though there are a couple of poems about wandering in New York City. Often, the language is of maps, airports, passports and long flights; of trading one place for another as exile, expatriate or returnee. The collection circuits the globe: China, the Middle East, Greece, Scandinavia, the bayous of the American South. France and Berlin show up more than once. The Emma Press anthologies vary and this one had fewer standout entries than average. However, a few favourites were Nancy Campbell’s “Reading the Water,” about a boy launching out to sea in a kayak; Simon Williams’s “Aboard the Grey Ghost,” about watching for dolphins on a wartime voyage from England to the USA; and Vicky Sparrow’s “Dual Gauge,” which follows a train of thought – about humans as objects moving, perhaps towards death – during a train ride.

(New purchase from publisher) [The Emma Press]

 

Findings by Kathleen Jamie (2005)

As I found when I reread Sightlines in 2022, Jamie’s topics couldn’t be better suited to my interests: Scottish islands, seabirds, medical history, and the meaning we derive from mortality. She visits the Orkney Islands just before the winter solstice, which draws a faithful few to the tomb of Maes Howe. From her attic room in Fife, she watches peregrine falcons on a cliff face. A gannet’s skull is her prized souvenir from a boat tour to an uninhabited Hebridean island. Vigilance pays off when she hears, then sees, corncrake on the Isle of Coll. Although she has a penchant for empty places, she also writes about cityscapes and hospitals. “Skylines” looks out over Edinburgh, also the setting for “Surgeons’ Hall,” about the pathology museum on the Royal College of Surgeons campus (my 2018 visit). In “Fever” her husband has a scary bout of pneumonia. Jamie is one of our wisest writers on nature and human culture. She asks whether any creatures are truly wild given the pervasiveness of human influence. Even as she seeks out the ancient, she knows we are all ephemeral. “Sabbath” is the best single essay, combining a visit to Lewis with her worry for her mother, who’s had a stroke, and her grandmother, who is to move into a care home. She explores the island “relishing the movement of my body, its own small continuing strength. It wouldn’t last forever – that was the truth of it – but today I could cycle along a road, to see where it led.”

(University library) [Sort Of Books]

My rating in 2012:

My rating now:

 

Ladies, Ladies, Ladies by Kristen Zory King (2025)

I’d never encountered “chapbook” being used for prose rather than poetry, but it’s an apt term for this 61-page paperback containing 18 stories. It’s remarkable how much King can pack into just a few pages: a voice, a character, a setting and situation, an incident, a salient backstory, and some kind of epiphany or resolution. Fifteen of the pieces focus on one named character, with another three featuring a set (“Ladies,” hence the title). Laura-Jean wonders whether it was a mistake to tell her ex’s mother what she really thinks about him in a Christmas card. A love of ice cream connects Margot’s past and present. A painting in a museum convinces Paige to reconnect with her estranged sister. Alice is sure she sees her double wandering around, and Mary contemplates stealing other people’s cats. The women are moved by rage or lust; stymied by loneliness or nostalgia. Is salvation to be found in scripture or poetry? Each story is distinctive, with no words wasted. I’ll look out for future work by King.

(Duplicate copy passed on by Marcie – thank you!) [Stanchion Books]


Which of these do you fancy reading?

 

Six more indie publishers spotlighted, for a total of 19 books and 18 publishers this month – job done!

Also covered:

Ansell, Farrier, Febos, Hoffman, Orlean, Stacey

Winter Trees by Sylvia Plath

Chevillard, Hopkins & Bateman, McGrath, Richardson

Victorian-Themed Novels by Annie Elliot and Livi Michael

There are plenty more indie books that I’m in the middle of, or picked out but didn’t get to in February. As much as possible, I’ll continue reading (indie) books from my shelves this year.

Book Serendipity, January to February

I call it “Book Serendipity” when two or more books that I read at the same time or in quick succession have something in common – the more bizarre, the better. This is a regular feature of mine every couple of months. Because I usually have 20–30 books on the go at once, I suppose I’m more prone to such incidents. People frequently ask how I remember all of these coincidences. The answer is: I jot them down on scraps of paper or input them immediately into a file on my PC desktop; otherwise, they would flit away! Feel free to join in with your own.

The following are in roughly chronological order.

  • An old woman with purple feet (due to illness or injury) in one story of Brawler by Lauren Groff and John of John by Douglas Stuart.
  • Someone is pushed backward and dies of the head injury in Zofia Nowak’s Book of Superior Detecting by Piotr Cieplak and one story of Brawler by Lauren Groff.

 

  • The Hindenburg disaster is mentioned in A Long Game by Elizabeth McCracken and Evensong by Stewart O’Nan.
  • Reluctance to cut into a corpse during medical school and the dictum ‘see one, do one, teach one’ in the graphic novel See One, Do One, Teach One: The Art of Becoming a Doctor by Grace Farris and Separate by C. Boyhan Irvine.

 

  • A remote Scottish island setting and a harsh father in Muckle Flugga by Michael Pedersen [Shetland] and John of John by Douglas Stuart [Harris]. (And another Scottish island setting in A Calendar of Love by George Mackay Brown [Orkney].)

 

  • A mention of genuine Harris tweed in Alone in the Classroom by Elizabeth Hay and John of John by Douglas Stuart.

 

  • The Katharine Hepburn film The Philadelphia Story is mentioned in The Girls’ Guide to Hunting and Fishing by Melissa Bank and Woman House by Lauren W. Westerfield.

  • A mention of Icelandic poppies in Nighthawks by Lisa Martin and Boundless by Kathleen Winter.

 

  • Vita Sackville-West is mentioned in the Orlando graphic novel adaptation by Susanne Kuhlendahl and Boundless by Kathleen Winter.
  • Fear of bear attacks in Black Bear by Trina Moyles and Boundless by Kathleen Winter. Bears also feature in A Rough Guide to the Heart by Pam Houston and No Paradise with Wolves by Katie Stacey. [Looking through children’s picture books at the library the other week, I was struck by how many have bears in the title. Dozens!]

 

  • I was reading books called Memory House (by Elaine Kraf) and Woman House (by Lauren W. Westerfield) at the same time, both of them pre-release books for Shelf Awareness reviews.
  • An adolescent girl is completely ignorant of the facts of menstruation in I Who Have Never Known Men by Jacqueline Harpman and Carrie by Stephen King.

 

  • Camembert is eaten in The Honesty Box by Lucy Brazier and Ordinary Saints by Niamh Ni Mhaoileoin.

 

  • A herbal tonic is sought to induce a miscarriage in The Girls Who Grew Big by Leila Mottley and Bog Queen by Anna North.
  • Vicks VapoRub is mentioned in Love Invents Us by Amy Bloom, Kin by Tayari Jones, and Dirt Rich by Graeme Richardson.

 

  • An adolescent girl only admits to her distant mother that she’s gotten her first period because she needs help dealing with a stain (on her bedding / school uniform) in Love Invents Us by Amy Bloom, An Experiment in Love by Hilary Mantel, and Ordinary Saints by Niamh Ni Mhaoileoin. (I had to laugh at the mother asking the narrator of the Mantel: “Have you got jam on your underskirt?”) Basically, first periods occurred a lot in this set! They are also mentioned in A Little Feral by Maria Giesbrecht and one story of The Blood Year Daughter by G.G. Silverman. [I also had three abortion scenes in this cycle, but I think it would constitute spoilers to say which novels they appeared in.)

 

  • A casual job cleaning pub/bar toilets in Kin by Tayari Jones and John of John by Douglas Stuart.

  • Kansas City is a location mentioned in Strangers by Belle Burden, Mrs. Bridge by Evan S. Connell, and Dreams in Which I’m Almost Human by Hannah Soyer. (Not actually sure if that refers to Kansas or Missouri in two of them.)

 

  • The notion of “flirting with God” is mentioned in Love Invents Us by Amy Bloom and A Little Feral by Maria Giesbrecht.
  • A signature New Orleans cocktail, the Sazerac (a variation on the whisky old-fashioned containing absinthe), appears in Kin by Tayari Jones and Let the Bad Times Roll by Alice Slater.

 

  • An older person’s smell brings back childhood memories in Love Invents Us by Amy Bloom and Whistler by Ann Patchett.

  • The fact that complaining of chest pain will get you seen right away in an emergency room is mentioned in Love Invents Us by Amy Bloom and The Girls Who Grew Big by Leila Mottley.

 

  • Thickly buttered toast is a favoured snack in The Honesty Box by Lucy Brazier and An Experiment in Love by Hilary Mantel.

 

  • A scene of trying on fur coats in Love Invents Us by Amy Bloom and An Experiment in Love by Hilary Mantel.

 

  • Lime and soda is drunk in Our Numbered Bones by Katya Balen, Kin by Tayari Jones, and Whistler by Ann Patchett.

  • A husband 17 years older than his wife in Kin by Tayari Jones and Whistler by Ann Patchett.

 

  • The protagonist seems to hold a special attraction for old men in Love Invents Us by Amy Bloom and Whistler by Ann Patchett.

 

  • A tattoo of a pottery shard (her ex-husband’s) in Strangers by Belle Burden and one of an arrowhead (her own) in Dreams in Which I’m Almost Human by Hannah Soyer.
  • A relationship with an older editor at a publishing house: The Girls’ Guide to Hunting and Fishing by Melissa Bank (romantic) and Whistler by Ann Patchett (stepfather–stepdaughter).

 

  • Repeated vomiting and a fever of 103–104°F leads to a diagnosis of appendicitis in My Grandmothers and I by Diana Holman-Hunt and Whistler by Ann Patchett.

 

  • Multiple pet pugs in Strangers by Belle Burden and My Grandmothers and I by Diana Holman-Hunt.

 

  • Palm crosses are mentioned in My Grandmothers and I by Diana Holman-Hunt and Kin by Tayari Jones.

 

  • A Miss Jemison in Kin by Tayari Jones and a Miss Jamieson in Elizabeth and Ruth by Livi Michael.

  • Pasley as a surname in Elizabeth and Ruth by Livi Michael and a place name (Pasley Bay) in Boundless by Kathleen Winter.

 

  • A remark on a character’s unwashed hair in My Grandmothers and I by Diana Holman-Hunt and Let the Bad Times Roll by Alice Slater.

 

  • A mention of a monkey’s paw in Museum Visits by Éric Chevillard and Let the Bad Times Roll by Alice Slater.

 

  • A character gets 26 (22) stitches in her face (head) after a car accident, a young person who’s vehemently anti-smoking, and a mention of being dusted orange from eating Cheetos, in Whistler by Ann Patchett and Let the Bad Times Roll by Alice Slater.

 

  • Pre-eclampsia occurs in Strangers by Belle Burden and The Girls Who Grew Big by Leila Mottley.

 

  • There’s a chapter on searching for corncrakes on the Isle of Coll (the Inner Hebrides of Scotland) in The Edge of Silence by Neil Ansell, which I read last year; this year I reread the essay on the same topic in Findings by Kathleen Jamie.
  • Worry over women with long hair being accidentally scalped – if a horse steps on her ponytail in Mare by Emily Haworth-Booth; if trapped in a London Underground escalator in Leaving Home by Mark Haddon.

 

  • A pet ferret in My Grandmothers and I by Diana Holman-Hunt and Shooting Up by Jonathan Tepper.

 

  • A dodgy doctor who molests a young female patient in Leaving Home by Mark Haddon and Elizabeth and Ruth by Livi Michael.

 

  • A high school girl’s inappropriate relationship with her English teacher is the basis for Love Invents Us by Amy Bloom, and then Half His Age by Jennette McCurdy, which I started soon after.

  • College roommates who become same-sex lovers, one of whom goes on to have a heterosexual marriage, in Kin by Tayari Jones and Whistler by Ann Patchett.

 

  • A mention of Sephora (the cosmetics shop) in Half His Age by Jennette McCurdy and Whistler by Ann Patchett.

 

  • A discussion of the Greek mythology character Leda in Mrs. Bridge by Evan S. Connell and Whistler by Ann Patchett (where it’s also a character name).

  • A workaholic husband who rarely sees his children and leaves their care to his wife in Strangers by Belle Burden and Mrs. Bridge by Evan S. Connell.

 

  • An apparently wealthy man who yet steals food in Strangers by Belle Burden and Let the Bad Times Roll by Alice Slater.

 

  • Characters named Lulubelle in Mrs. Bridge by Evan S. Connell and Lulabelle in Kin by Tayari Jones.

 

  • Characters named Ruth in Mrs. Bridge by Evan S. Connell, Kin by Tayari Jones, and Elizabeth and Ruth by Livi Michael.

 

  • A mention of Mary McLeod Bethune in Negroland by Margo Jefferson and Kin by Tayari Jones.

 

  • Doing laundry at a whorehouse in Kin by Tayari Jones and Elizabeth and Ruth by Livi Michael.

 

  • A male character nicknamed Doll in John of John by Douglas Stuart and then Elizabeth and Ruth by Livi Michael.

 

  • A mention of tuberculosis of the stomach in Findings by Kathleen Jamie and Shooting Up by Jonathan Tepper. I was also reading a whole book on tuberculosis, Everything Is Tuberculosis by John Green, at the same time.

  • Mention of Doberman dogs in Mrs. Bridge by Evan S. Connell and one story of The Blood Year Daughter by G.G. Silverman.

 

  • Extreme fear of flying in Leaving Home by Mark Haddon and Whistler by Ann Patchett.

What’s the weirdest reading coincidence you’ve had lately?

June Releases by Caroline Bird, Kathleen Jamie, Glynnis MacNicol and Naomi Westerman

These four books by women all incorporate life writing to an extent. Although the forms differ, a common theme – as in the other June releases I’ve reviewed, Sandwich and Others Like Me – is grappling with what a woman’s life should be, especially for those who have taken an unconventional path (i.e. are queer or childless) or are in midlife or later. I’ve got a poet up to her usual surreal shenanigans but with a new focus on lesbian parenting; a hybrid collection of poetry and prose giving snapshots of nature in crisis; an account of a writer’s hedonistic month in pandemic-era Paris; and mordant essays about death culture.

 

Ambush at Still Lake by Caroline Bird

Caroline Bird has become one of my favourite contemporary poets over the past few years. Her verse is joyously cheeky and absurdist. A great way to sample it is via her selected poems, Rookie. This seventh collection is muted by age and circumstance – multiple weddings and a baby – but still hilarious in places. Instead of rehab or hospital as in In These Days of Prohibition, the setting is mostly the domestic sphere. Even here, bizarre things happen. The police burst in at 4 a.m. for no particular reason; search algorithms and the baby monitor go haywire. Her brother calls to deliver a paranoid rant (in “Up and at ’Em”), while Nannie Edna’s dying wish is to dangle her great-grandson from her apartment window (in “Last Rites”). The clinic calls to announce that their sperm donor was a serial killer – then ‘oops, wrong vial, never mind!’ A toddler son’s strange and megalomaniac demands direct their days. My two favourites were “Ants,” in which a kitchen infestation signals general chaos, and “The Frozen Aisle,” in which a couple scrambles to finish the grocery shop and get home to bed before a rare horny moment passes. A lesbian pulp fiction cover, mischievous wit and topics of addiction and queer parenting: this is not your average poetry.

With thanks to Carcanet Press for the free copy for review.


A sample poem:

Siblings

A woman gave birth

to the reincarnation

of Gilbert and Sullivan

or rather, two reincarnations:

one Gilbert, one Sullivan.

What are the odds

of both being resummoned

by the same womb

when they could’ve been

a blue dart frog

and a supply teacher

on separate continents?

Yet here they were, squidged

into a tandem pushchair

with their best work

behind them, still smarting

from the critical reception

of their final opera

described as ‘but an echo’

of earlier collaborations.

 

Cairn by Kathleen Jamie

As she approached age 60, Kathleen Jamie found her style changing. Whereas her other essay collections alternate extended nature or travel pieces with few-page vignettes, Cairn eschews longer material and instead alternates poems with micro-essays on climate crisis and outdoor experiences. In the prologue she calls these “distillations and observations. Testimonies” that she has assembled into “A cairn of sorts.”

As in Surfacing, she writes many of the autobiographical fragments in the second person. The book is melancholy at times, haunted by all that has been lost and will be lost in the future:

What do we sense on the moor but ghost folk,

ghost deer, even ghost wolf. The path itself is a

phantom, almost erased in ling and yellow tormentil (from “Moor”)

In “The Bass Rock,” Jamie laments the effect that bird flu has had on this famous gannet colony and wishes desperately for better news:

The light glances on the water. The haze clears, and now the rock is visible; it looks depleted. But hallelujah, a pennant of twenty-odd gannets is passing, flying strongly, now rising now falling They’ll be Bass Rock birds. What use the summer sunlight, if it can’t gleam on a gannet’s back? You can only hope next year will be different. Stay alive! You call after the flying birds. Stay alive!

Natural wonders remind her of her own mortality and the insignificance of human life against deep time. “I can imagine the world going on without me, which one doesn’t at 30.” She questions the value of poetry in a time of emergency: “If we are entering a great dismantling, we can hardly expect lyric to survive. How to write a lyric poem?” (from “Summer”). The same could be said of any human endeavour in the face of extinction: We question the point but still we continue.

My two favourite pieces were “The Handover,” about going on an environmental march with her son and his friends in Glasgow and comparing it with the protests of her time (Greenham Common and nuclear disarmament) – doom and gloom was ever thus – and the title poem, which piles natural image on image like a cone of stones. Although I prefer the depth of Jamie’s other books to the breadth of this one, she is an invaluable nature writer for her wisdom and eloquence, and I am grateful we have heard from her again after five years.

With thanks to Sort Of Books for the free copy for review.

 

I’m Mostly Here to Enjoy Myself: One Woman’s Pursuit of Pleasure in Paris by Glynnis MacNicol

I loved New York City freelance writer Glynnis MacNicol’s No One Tells You This (2018), which approached her 40th year as an adventure into the unknown. This second memoir is similarly frank and intrepid as MacNicol examines the unconscious rules that people set for women in their mid-forties and gleefully flouts them, remaining single and childfree and delighting in the freedom that allows her to book a month in Paris on a whim. She knows that she is an anomaly for being “untethered”; “I am ready for anything. To be anyone.”

This takes place in August 2021, when some pandemic restrictions were still in force, and she found the city ­– a frequent destination for her over the years – drained of locals, who were all en vacances, and largely empty of tourists, too. Although there was still a queue for the Mona Lisa, she otherwise found the Louvre very quiet, and could ride her borrowed bike through the streets without having to look out for cars. She and her single girlfriends met for rosé-soaked brunches and picnics, joined outdoor dance parties and took an island break.

And then there was the sex. MacNicol joined a hook-up app called Fruitz and met all sorts of men. She refused to believe that, just because she was 46 going on 47, she should be invisible or demure. “All the attention feels like pure oxygen. Anything is possible.” Seeing herself through the eyes of an enraptured 27-year-old Italian reminded her that her body was beautiful even if it wasn’t what she remembered from her twenties (“there is, on average, a five-year gap between current me being able to enjoy the me in the photos”). The book’s title is something she wrote while messaging with one of her potential partners.

As I wrote yesterday about Others Like Me, there are plenty of childless role models but you may have to look a bit harder for them. MacNicol does so by tracking down the Paris haunts of women writers such as Edith Wharton and Colette. She also interrogates this idea of women living a life of pleasure by researching the “odalisque” in 18th- and 19th-century art, as in the François Boucher painting on the cover. This was fun, provocative and thoughtful all at once; well worth seeking out for summer reading and armchair travelling.

(Read via Edelweiss) Published in the USA by Penguin Life/Random House.

 

Happy Death Club: Essays on Death, Grief & Bereavement across Cultures by Naomi Westerman

Like Erica Buist (This Party’s Dead) and Caitlin Doughty (Smoke Gets in Your Eyes, From Here to Eternity and Will My Cat Eat My Eyeballs?), playwright Naomi Westerman finds the comical side of death. Part of 404 Ink’s Inklings series (“Big ideas, pocket-sized books” – perfect for anyone looking for short nonfiction for Novellas in November!), this is a collection of short essays about her own experiences of bereavement as well as her anthropological research into rituals and beliefs around death. “The Rat King of South London” is about her father’s sudden death from an abdominal aneurysm. An instantaneous death is a good one, she contends. More than 160,000 people die every day, and what to do with all those bodies is a serious question. A subversive sense of humour is there right from the start, as she gives a rundown of interment options. “Mummification: Beloved by Ancient Egyptians and small children going through their Ancient Egypt phase, it’s a classic for a reason!” Meanwhile, she legally owns her father’s plot so also buries dead pet rats there.

Other essays are about taking her mother’s ashes along on world travels, the funeral industry and “red market” sales of body parts, grief as a theme in horror films, the fetishization of dead female bodies, Mexico’s Day of the Dead festivities, and true crime obsession. In “Batman,” an excerpt from one of her plays, she goes to have a terrible cup of tea with the man she believes to be responsible for her mother’s death – a violent one, after leaving an abusive relationship. She also used the play to host an on-stage memorial for her mother since she wasn’t able to sit shiva. In the final title essay, Westerman tours lots of death cafés and finds comfort in shared experiences. These pieces are all breezy, amusing and easy to read, so it’s a shame that this small press didn’t achieve proper proofreading, making for a rather sloppy text, and that the content was overall too familiar for me.

With thanks to 404 Ink and publicist Claire Maxwell for the free copy for review.

 

Does one or more of these catch your eye?

What June releases can you recommend?

Nature Book Catch-Up: Sally Huband, Richard Smyth & Anna Vaught

I’m catching up with a few nature- and travel-based 2023 releases that were sent to me for review. I’ve grouped them together because these British authors share some of the same interests and concerns. They celebrate beloved places that become ours through the time we spend in them and the attention we grant; they mourn the loss of biodiversity from rockpools and gardens and seabird cliffs. What kind of diminished world they’re raising their children into is a major worry for all three, and for Huband and Vaught the unease is exacerbated by chronic illness. Wild creatures, and the fellow authors who have hymned them, ease the hurt.

 

Sea Bean: A beachcomber’s search for a magical charm by Sally Huband

After more than a decade in her adopted home of Shetland, Sally Huband is still a newcomer. A tricky path to motherhood and ensuing chronic illness (the autoimmune disease palindromic rheumatism) limited her mobility and career. Beachcombing is at once her way of belonging to a specific place and feeling part of the wider world – what washes up on a Shetland beach might come from as far away as Atlantic Canada or the Caribbean. Sea glass, lobster pot tags, messages in bottles, driftwood … and a whole lot of plastic, of course. Early on, Huband sets her sights on a sea bean – also known as a drift-seed, from the tropics – which in centuries past was a talisman for ensuring safe childbirth. Possession of one was enough to condemn a 17th-century local woman to death for witchcraft, she learned.

Stories of motherhood, the quest to find effective treatment in a patriarchal medical system, volunteer citizen science projects (monitoring numbers of dead seabirds, returning beached cetaceans to the water, dissecting fulmar stomachs to assess their plastic content), and studying Shetland’s history and customs mingle in a fascinating way. Huband travels around the archipelago and further afield, finding a vibrant beachcombing culture on the Dutch island of Texel. As in Moby-Duck by Donovan Hohn, one of my all-time favourite nonfiction books, there is delight at the randomness of what the ocean delivers.

I requested this book because Huband’s was my favourite essay in the Antlers of Water anthology. In it, she deplored the fact that women were still not allowed to participate in the Up Helly Aa fire festival in Lerwick. Good news: that is no longer the case, thanks to campaigning by Huband and others. In a late chapter, she also reports that blackface was recently banned from the festivals, and a Black Lives Matter demonstration drew 2000 people. Change does come, but slowly to a traditional island community. And sometimes it is not the right sort of change, as with an enormous wind farm, resisted vigorously by residents, that will primarily enrich a multinational company instead of serving the local people.

In many ways, this is a book about coming to terms with loss, and Huband presents the facts with sombre determination. Passages about the threats to birds and marine life had me near tears. But she writes with such poetic tenderness that the evocative specifics of island life point towards what’s true for all of us making the best of our constraints. I was lucky enough to visit several islands of Shetland in 2006; whether you have or not, this is a radiant memoir I would recommend to readers of Kathleen Jamie, Jean Sprackland and Malachy Tallack.

Some favourite lines:

No island can ever live up to the heightened expectations that we always seem to place on them; life catches up with us, sooner or later.

With each loss, emotional pain accretes for those who have paid attention.

If hope is a hierarchy of wishes then I am happy enough, each time that I beachcomb, to find fragments of the bark of paper birch

I’ve come to think of the ocean as an archive of sorts.

With thanks to Hutchinson Heinemann for the proof copy for review.

 

The Jay, the Beech and the Limpetshell: Finding Wild Things with My Kids by Richard Smyth

all around us

the stuff of spells. Our parents

 

let us go to scamper deeper,

leap from stumps lush with moss.

 

Everything aloof about me

fell into the soil once charged

 

with younger siblings

and freedoms of a wood.

I give you a damp valley floor,

this feather for your pocket.

~an extract from “Arger Fen,” from Latch by Rebecca Goss

I know Richard Smyth for his writing on birds (I’ve reviewed both A Sweet, Wild Note and An Indifference of Birds) and his somewhat controversial commentary on modern nature writing. This represents a change in direction for him toward more personal reflection, and with its focus on the phenomena of childhood and parenthood it recalls Wild Child by Patrick Barkham and The Nature Seed by Lucy Jones and Kenneth Greenway. But, as I knew to expect from previous works, he has such talent for reeling in the tangential and extrapolating from the concrete to the abstract that this lively read ends up being about everything: what it is to be human on this fading planet.

And this despite the fact that four of five chapter headings suggest pandemic-specific encounters with nature. Lockdown walks with his two children, and the totems they found in different habitats – also including a chaffinch nest and an owl pellet – are indeed jumping-off points, punctuating a wide-ranging account of life with nature. Smyth surveys the gateway experiences, whether books or television shows or a school tree-planting programme or collecting, that get young people interested; and talks about the people who beckon us into greater communion – sometimes authors and celebrities; other times friends and family. He also engages with questions of how to live in awareness of climate crisis. He acknowledges that he should be vegetarian, but isn’t; who does not harbour such everyday hypocrisies?

It’s still, unfortunately, rare for men to write about parenthood (and especially pregnancy loss – I only think of Native by Patrick Laurie and William Henry Searle’s books), so it’s great to see that represented, and it’s a charming idea that we create “downfamily” because the “upfamily” doesn’t last forever. Although there’s nostalgia for his childhood here, and anxiety about his kids’ chances of seeing wildlife in abundance, Smyth doesn’t get mired in the past or in existential dread. He has a humanist belief that people are essentially good and can do positive things like build offshore wind farms, and in the meantime he will take Genevieve and Daniel into the woods to play so they will develop a sense of wonder at all that lives on. Even for someone like me who doesn’t have children, this was a captivating, thought-provoking read: We’re all invested in the future of life on this planet.

With thanks to Icon Press for the free copy for review.

 

These Envoys of Beauty: A Memoir by Anna Vaught

Anna Vaught is a versatile author: I have a copy of her mental health-themed novel Saving Lucia, longlisted for the inaugural Barbellion Prize, on the shelf; she’s written a spooky set of stories, Famished (see Susan’s review); and I gave some early reader feedback on the opening pages of her forthcoming work of quirky historical fiction, The Zebra and Lord Jones. She’s also publishing a book on writing, and editing a collection of pieces submitted for the first Curae Prize for writers who are also carers. I was drawn to her first nonfiction release by reviews by fellow bloggers – it’s always good when a blog tour achieves its aim!

These dozen short essays are about how nature doesn’t necessarily heal, but is a most valued companion in a life marked by chronic illness and depression. The evocative title and epigraphs are from Ralph Waldo Emerson’s essay “Nature” (1836). The pieces loop through Vaught’s past and present, focussing on favourite places in Wiltshire, where she lives, and at the Pembrokeshire coast. It’s the second memoir about complex PTSD that I’ve read this year (see also What My Bones Know). Both at the time and now, when flashbacks of her parents’ verbal and physical abuse haunt her, lying down in a grassy field, exploring a sea cave or sucking on a gorse flower could be a salve. “Nature offered stability and satisfying detail; pattern, form and things that made sense.”

Vaught has a particular love for trees, flowers and moss – even just reciting their Latin names gives her a thrill, and she adds additional information about some species in footnotes. Although her childhood was painful, she retains gratitude for its wide-eyed wonder, and in the exuberance of her prose you can sense a willed childlike perspective (“But back to the list of clouds and writing about clouds!”). I found the frequent self-referential nature of the essays and direct reader address a little precious, but appreciated the thoughts about how nature holds us: “I have always felt a generosity around me, and that I was less lonely outside; at the very least, I could find something to comfort me”. She’s a bookish kindred spirit as well. I’ll be sure to try her work in other genres.

With thanks to Reflex Press for the free copy for review.

Best Backlist Reads of the Year

Like many bloggers, I’m irresistibly drawn to the new books released each year. However, I consistently find that many of my most memorable reads were published years or even decades ago. These 16 selections, in alphabetical order within genre, together with my Best of 2022 post (coming up tomorrow), make up the top 9.5% or so of my reading for the year. Three of the below were rereads.

 

Fiction

First, a special mention for this trio:

Birds of a Lesser Paradise by Megan Mayhew Bergman

Delicate Edible Birds by Lauren Groff

Birds of America by Lorrie Moore

It’s unusual for me to fall so wholeheartedly for short stories. I intended to write up these three “Birds” collections as part of my short story focus in September but ultimately decided to spend more time with the latter two (and then fell ill with Covid before I could write them up, so look out for my full reviews early in the new year). The word from the title is incidental, really; the books do have a lot in common in terms of theme and tone, though. The environment, fidelity and motherhood are recurring elements. The warmth and psychological depth are palpable. Each story feels fleshed out enough that I would happily read an entire novel set in its world, but also such that it is complete unto itself. Two of these writers (Bergman and Moore) are best known for short stories; the third, to my mind, should be.

 

Falling Angels by Tracy Chevalier: I’ve read all of Chevalier’s novels and always thought of this one as my favourite. A reread didn’t change that. I loved the neat structure that bookends the action between the death of Queen Victoria and the death of Edward VII, and the focus on funerary customs (with Highgate Cemetery a major setting) and women’s rights.

 

Julia and the Shark by Kiran Millwood Hargrave: Julia and her parents are on an island adventure to Unst, in the north of Shetland, where her father will keep the lighthouse for a summer and her mother, a marine biologist, will search for the Greenland shark. Hargrave treats the shark as both a real creature and a metaphor for all that lurks – all that we fear and don’t understand. Beautifully illustrated, too; a modern children’s classic in the making.

 

We Have Always Lived in the Castle by Shirley Jackson: A brooding character study of two sisters isolated by their scandalous family history and the suspicion of the townspeople. I loved the offbeat voice and unreliable narration, and the way the Blackwood house is both a refuge and a prison for the sisters. Who is protecting whom, and from what? There are a lot of great scenes, all so discrete that I could see this working very well as a play

 

Foster by Claire Keegan: A delicate, heart-rending novella about a deprived young Irish girl sent to live with rural relatives for one pivotal summer. It bears all the hallmarks of a book several times its length: a convincing and original voice, rich character development, an evocative setting, just enough backstory, psychological depth, conflict and sensitive treatment of difficult themes like poverty and neglect. I finished the one-sitting read in a flood of tears.

 

Small Things Like These by Claire Keegan: One good man’s small act of rebellion is a way of standing up to the injustice of the Magdalen Laundries, a church-sanctioned system that must have seemed too big to tackle. Keegan fits so much into so few pages, including Bill working out who his father was and deciding what to make of the middle of his life. Like Foster, this is set in the 1980s but feels timeless. Absolutely beautiful.

 

The Murderer’s Ape by Jakob Wegelius: Sally Jones is a ship’s engineer who journeys from Portugal to India to clear her captain’s name when he is accused of murder. She’s also a gorilla. This was the perfect rip-roaring adventure story to read at sea (on the ferry to Spain in May); the twisty plot and larger-than-life characters who aid or betray Sally Jones kept the nearly 600 pages turning quickly.

 

Poetry

Honorifics by Cynthia Miller: Miller is a Malaysian American poet in Edinburgh. The themes of her debut include living between countries and feeling like an exile versus finding a sense of home. There’s much variety here, and so many beautiful lines and evocative images. Miller incorporates a lot of unusual structures, some of them traditional forms and others freer: a numbered list, columns, dictionary definitions or prose paragraphs. Flora and fauna references plus a consideration of the expat life meant this was custom made for me.

 

Nonfiction

The Boys in the Boat by Daniel James Brown: The University of Washington rowing team in general, and Joe Rantz in particular, were unlikely champions. Boatbuilding and rowing both come across as admirable skills involving hard physical labour, scientific precision and an artist’s mind. All along, Brown subtly weaves in the historical background: Depression-era Seattle with its shantytowns, and the rise of Hitler in Germany. A classic underdog story.

 

My Life in Houses by Margaret Forster: Having become a homeowner for the first time earlier this year, I was interested in how an author would organize their life around the different places they’ve lived. The early chapters about being a child in Carlisle are compelling in terms of cultural history; later on she observes gentrification in London, and her home becomes a haven for her during her cancer treatment.

 

Sightlines by Kathleen Jamie: A reread started on our July trip to the Outer Hebrides. I’d forgotten how closely Jamie’s interests align with my own: Scotland and its islands, birds, the prehistoric, museums, archaeology. I particularly appreciated “Three Ways of Looking at St Kilda,” but everything she writes is profound: “if we are to be alive and available for joy and discovery, then it’s as an animal body, available for cancer and infection and pain.”

 

Reflections from the North Country by Sigurd F. Olson: Olson was a well-known environmental writer in his time (through 1970s), also serving as president of the National Parks Association. This collection of passionate, philosophically oriented essays about the state of nature places him in the vein of Aldo Leopold – before-their-time conservationists. He ponders solitude, wilderness and human nature, asking what is primal in us.

 

Smile by Sarah Ruhl: These warm and beautifully observed autobiographical essays stem from the birth of her twins and the slow-burning medical crises that followed. Shortly after delivery, Ruhl developed Bell’s palsy, a partial paralysis of the face. Having a lopsided face, grimacing and squinting when she tried to show expression – it was a minor problem in the grand scheme of things, yet provoked questions about whether the body equates to identity.

 

Owls of the Eastern Ice by Jonathan C. Slaght: Slaght has become an expert on the Blakiston’s fish owl during nearly two decades of fieldwork in the far east of Russia. Slaght thinks of Russia as his second home, and you can sense his passion for the fish owl and for conservation in general. Amid the science, this is a darn good story, full of bizarre characters. Top-notch nature and travel writing; a ride along on a consequential environmentalist quest.

Some of the best backlist reads I own and could lay my hands on.

 

What were your best backlist reads this year?

Book Serendipity, May to Mid-August 2022

This is a regular feature of mine every few months. I call it “Book Serendipity” when two or more books that I read at the same time or in quick succession have something in common – the more bizarre, the better. Because I usually have 20–30 books on the go at once, I suppose I’m more prone to such incidents. The following are in roughly chronological order.

  • Not only did the opening scene of All Down Darkness Wide by Seán Hewitt share with Falling Angels by Tracy Chevalier a graveyard setting, but more specifically an angel statue whose head falls off.
  • SPOILER: {The protagonist has a backstory of a mother who drowned, presumably by suicide, in Secrets of the Sea House by Elisabeth Gifford and The Dance Tree by Kiran Millwood Hargrave.}

 

  • I started reading two e-books on the same day that had Taylor Swift lyrics as an epigraph: Bad Vibes Only by Nora McInerny and Tracy Flick Can’t Win by Tom Perrotta. I have never knowingly heard a Taylor Swift song.

 

  • Rescuing insects from a swimming pool in Fledgling by Hannah Bourne-Taylor and In the Quaker Hotel by Helen Tookey.

 

  • Reading two feminist works of historical fiction in which the protagonist refuses to marry (even though it’s true love) at the same time: Lessons in Chemistry by Bonnie Garmus and Madwoman by Louisa Treger (about Nellie Bly).
  • Two London-set books featuring a daughter named Mabel, one right after the other: This Is Not a Pity Memoir by Abi Morgan and Bridget Jones: Mad about the Boy by Helen Fielding.

 

  • In Jenn Shapland’s My Autobiography of Carson McCullers I came across the fact that McCullers married the same man twice. Just a few days before, I’d seen that same odd fact about Hilary Mantel in her Wikipedia bio.

 

  • A character named Clodagh in Black Narcissus by Rumer Godden and “Rainbows” by Joseph O’Neill, one of the entries in The Best Short Stories 2022: The O. Henry Prize Winners.

 

  • Reading two books about an English author who died young of TB at the same time: Tenderness by Alison MacLeod (about D.H. Lawrence) and Orwell’s Roses by Rebecca Solnit.
  • Reading two novels that mention the shipwreck of the Batavia at the same time: The Night Ship by Jess Kidd (where it’s a major element) and Cloudstreet by Tim Winton (just a tiny reference that nonetheless took me aback). According to Wikipedia, “Batavia was a ship of the Dutch East India Company. Built in Amsterdam in 1628 as the company’s new flagship, she sailed that year on her maiden voyage for Batavia, capital of the Dutch East Indies. On 4 June 1629, Batavia was wrecked on the Houtman Abrolhos, a chain of small islands off the western coast of Australia.”

 

  • David Lack’s Swifts in a Tower is mentioned in Swifts and Us by Sarah Gibson (no surprise there) but also in From the Hedgerows by Lew Lewis.

 

  • There’s a child nicknamed Chub in Damnation Spring by Ash Davidson and Cloudstreet by Tim Winton (which both also at least started off being buddy reads with Marcie of Buried in Print!).

 

  • Two novels in quick succession in which the discovery of a horse skeleton sparks the action in one story line: The Last Wild Horses by Maja Lunde and (coming up soon – I have a library reservation placed) Horse by Geraldine Brooks.
  • Unst, Shetland as a setting in Orchid Summer by Jon Dunn, Sightlines by Kathleen Jamie, Julia and the Shark by Kiran Millwood Hargrave, and Where the Wildflowers Grow by Leif Bersweden.

 

  • “Quiet as it’s kept” (a quote from the opening line of Toni Morrison’s The Bluest Eye) is borrowed in a poem in No Country for Eight-Spot Butterflies by Julian Aguon and one in the anthology American Wildflowers: A Literary Field Guide, ed. Susan Barba (“A Siren Patch of Indigo” by Cyrus Cassells).

 

  • I didn’t recognize the word “swingeing” in The Reindeer Hunters by Lars Mytting and encountered it again the same day in Brief Lives by Anita Brookner before I had a chance to look it up (it means extreme or severe).

 

  • A 1950s setting and a main character who is a man with missing fingers/arm in Cloudstreet by Tim Winton and The Young Accomplice by Benjamin Wood.

What’s the weirdest reading coincidence you’ve had lately?

Adventuring (and Reading) in the Outer Hebrides

Islands are irresistible for the unique identities they develop through isolation, and the extra effort that it often takes to reach them. Over the years, my husband and I have developed a special fondness for Britain’s islands – the smaller and more remote the better. After exploring the Inner Hebrides in 2005 and Orkney and Shetland in 2006, we always intended to see more of Scotland’s islands; why ever did we leave it this long?

From Wikimedia Commons. By Kelisi.

Rail strikes and cancelled trains threatened our itinerary more than once, so it was a relief that we were able to go, even at extra cost. Our back-up plan left us with a spare day in Inverness, which we filled with coffee and pastries outside the cathedral, browsing at Leakey’s bookshop, walking along the River Ness and in the botanical gardens, and a meal overlooking the 19th-century castle.

Then it was on to the Outer Hebrides at last, via a bus ride and then a ferry to Stornoway in Lewis, the largest settlement in the Western Isles. Here we rented a car for a week to allow us to explore the islands at will. We were surprised at how major a town Stornoway is, with a big supermarket and slight suburban sprawl – yet it was dead on the Saturday morning we went in to walk around; not until 11:30 was there anything like the bustle we expected.

We’d booked three nights in a tiny Airbnb house 15 minutes from the capital. First up on our tourist agenda was Callanish stone circle, which we had to ourselves (once the German coach party left). Unlike at Stonehenge, you can walk in among the standing stones. The rest of our time on Lewis went to futile whale watching, the castle grounds, and beach walks.

This post threatens to become a boring rundown, so I’ll organize the rest thematically, introduced by songs by Scottish artists.

 

“I’ll Always Leave the Light On” by Kris Drever

Long days: The daylight lasts longer so far north, so each day we could plan activities not just for the morning and afternoon but late into the evening. At our second stop – three nights in another Airbnb on North Uist – we took walks after dinner, often not coming back until 10 p.m., at which point there was still another half-hour until sunset.

 

“Why Does It Always Rain on Me?” by Travis

Weather: We got a mixture of sun and clouds. It rained at least a bit on most days, and we got drenched twice, walking out to an eagle observatory on Harris (where we saw no eagles, as they are too sensible to fly in the rain) and dashing back to the car from a coastal excursion. I was doomed to wearing plastic bags around my feet inside my disintegrating hiking boots for the rest of the trip. There was also a strong wind much of the time, which made it feel colder than the temperature suggested – I often wore my fleece and winter hat.

A witty approach to weather forecasting. (Outside the shop/bistro on Berneray.)

 

“St Kilda Wren” by Julie Fowlis

Music and language: Julie Fowlis is a singer from North Uist who records in English and Gaelic. (This particular song is in Gaelic, but the whole Spell Songs album was perfect listening on our drives because of the several Scottish artists involved and the British plants and animals sung about.) There is a strong Gaelic-speaking tradition in the Western Isles. We heard a handful of people speaking it, all road signs give place names in Gaelic before the English translation, and there were several Gaelic pages in the free newspaper we picked up.

Wildlife: The Outer Hebrides is a bastion for some rare birds: the corncrake, the red-necked phalarope, and both golden and white-tailed eagles. Thanks to intel gleaned from Twitter, my husband easily found a phalarope swimming in a small roadside loch. Corncrakes hide so well they are virtually impossible to see, but you will surely hear their rasping calls from the long grass. Balranald is the westernmost RSPB reserve and a wonderful place to hear corncrakes and see seabirds flying above the machair (wildflower-rich coastal grassland). No golden eagles, but we did see a white-tailed eagle flying over our accommodation on our last day, and short-eared owls were seemingly a dime a dozen. We were worried we might see lots of dead birds on our trip due to the avian flu raging, but there were only five – four gannets and an eider – and a couple looked long dead. Still, it’s a distressing situation.

We also attended an RSPB guided walk to look for otters and did indeed spot one on a sea loch. It happened to be the Outer Hebrides Wildlife Festival week. Our guide was knowledgeable about the geography and history of the islands as well.

Badges make great, cheap souvenirs!

St. Kilda: This uninhabited island really takes hold of the imagination. It can still be visited, but only via a small boat through famously rough seas. We didn’t chance it this time. I might never get there, but I enjoy reading about it. There’s a viewing point on North Uist where one can see out to St. Kilda, but it was only the vaguest of outlines on the hazy day we stopped.

 

“Traiveller’s Joy” by Emily Smith

Additional highlights:

  • An extended late afternoon tea at Mollans rainbow takeaway shed on Lewis. Many of the other eateries we’d eyed up in the guidebook were closed, either temporarily or for good – perhaps an effect of Covid, which hit just after the latest edition was published.
  • A long reading session with a view by the Butt of Lewis, which has a Stevenson lighthouse.

  • Watching mum and baby seals playing by the spit outside our B&B window on Berneray.
  • Peat smoked salmon. As much of it as I could get.
  • A G&T with Harris gin (made with kelp).

 

“Dear Prudence” (Beatles cover) by Lau

Surprises:

  • Gorgeous, deserted beaches. This is Luskentyre on Harris.

  • No midges to speak of. The Highlands are notorious for these biting insects, but the wind kept them away most of the time we were on the islands. We only noticed them in the air on one still evening, but they weren’t even bad enough to deploy the Avon Skin So Soft we borrowed from a neighbour.
  • People still cut and burn peats for fuel. Indeed, when we stepped into the Harris gin distillery for a look around, I was so cold and wet that I warmed my hands by a peat fire! Even into the 1960s, people lived in primitive blackhouses, some of which have now been restored as holiday rentals. The one below is run as a museum.

  • Not far outside Stornoway is the tiny town of Tong. We passed through it each day. Here Mary Anne MacLeod was born in 1912. If only she’d stayed on Lewis instead of emigrating to New York City, where she met Fred Trump and had, among other children, a son named Donald…
  • Lord Leverhulme, founder of Unilever, bought Lewis in 1918 and part of Harris the next year. He tried to get crofters to work in his businesses, but all his plans met with resistance and his time there was a failure, as symbolized by this “bridge to nowhere” (Garry Bridge). His legacy is portrayed very differently here compared to in Port Sunlight, the factory workers’ town he set up in Merseyside.

  • The most far-flung Little Free Library I’ve ever visited (on Lewis).

  • Visits from Lulu the cat at our North Uist Airbnb.

 

“Wrapped Up in Books” by Belle and Sebastian

What I read: I aimed for lots of relevant on-location reads. I can’t claim Book Serendipity: reading multiple novels set on Scottish islands, it’s no surprise if isolation, the history of the Clearances, boat rides, selkies and seabirds recur. However, the coincidences were notable for one pair, Secrets of the Sea House by Elisabeth Gifford and Night Waking by Sarah Moss, a reread for me. I’ll review these two together, as well as The Summer of the Bear by Bella Pollen (inspired by a real incident that occurred on North Uist in 1980), in full later this week.

I also read about half of Sightlines by Kathleen Jamie, a reread for me; its essays on gannets and St. Kilda chimed with the rest of my reading. Marram, Leonie Charlton’s memoir of pony trekking through the Outer Hebrides, will form part of a later 20 Books of Summer post thanks to the flora connection, as will Jon Dunn’s Orchid Summer, one chapter of which involves a jaunt to North Uist to find a rare species.

Stormy Petrel by Mary Stewart: My selection for the train journey up. I got Daphne du Maurier vibes from this short novel about a holiday Dr Rose Fenemore, an English tutor at Cambridge, takes to Moila, a (fictional) small island off of Mull in the Inner Hebrides. It’s a writing retreat for her: she’s working on a book of poetry, but also on the science fiction she publishes under a pseudonym. Waiting for her brother to join her, she gets caught up in mild intrigue when two mysterious men enter her holiday cottage late one stormy night. Each has a good excuse cooked up, but who can she trust? I enjoyed the details of the setting but found the plot thin, predictable and slightly silly (“I may be a dish, but I am also a don”). This feels like it’s from the 1950s, but was actually published in 1991. I might try another of Stewart’s.

I also acquired four books on the trip: one from the Little Free Library and three from Inverness charity shops.

I started reading all three in the bottom pile, and read a few more books on my Kindle, two of them for upcoming paid reviews. The third was:

Tracy Flick Can’t Win by Tom Perrotta: A sequel to Election, which you might remember as a late-1990s Reese Witherspoon film even if you don’t know Perrotta’s fiction. Tracy Flick was the goody two-shoes student who ran for school president and had her campaign tampered with. Now in her forties, she’s an assistant principal at a high school and a single mother. Missing her late mother and wishing she’d completed law school, she fears she’ll be passed over for the top job when the principal retires. This is something of an attempt to update the author’s laddish style for the #MeToo era. Interspersed with the third-person narration are snappy first-person testimonials from Tracy, the principal, a couple of students, and the washed-up football star the school chooses to launch its new Hall of Fame. I can’t think of any specific objections, but nor can I think of any reason why you should read this.

On my recommendation, my husband read Love of Country by Madeleine Bunting and The Frayed Atlantic Edge by David Gange, two excellent nonfiction books about Britain’s islands and coastline.

 

“Other Side of the World” by KT Tunstall

General impressions: We weren’t so taken with Lewis on the whole, but absolutely loved what we saw of Harris on our drive to the ferry to Berneray and wished we’d allotted it more time. While we only had one night on Berneray and mostly saw it in the rain, we thought it a lovely little place. It only has the one shop, which doubles as the bistro in the evenings – warned by the guidebook that this is the only place to eat on the island, we made our dinner reservation many weeks in advance. The following morning, as we ate our full Scottish cooked breakfast, I asked the B&B owner what led him to move from England to “the ends of the earth.” He took mild objection to my tossed-off remark and replied that the islands are more like “the heart of it all.” Thanks to fast Internet service, remote working is no issue.

We are more than half serious when we talk about moving to Scotland one day. We love Edinburgh, though the tourists might drive us mad, and enjoyed our time in Wigtown four years ago. I’d like to think we could even cope with island life in Orkney or the Hebrides. We imagine them having warm, tight-knit communities, but would newcomers feel welcome? With only one major supermarket in the whole Western Isles, would we find enough fresh fruit and veg? And however would one survive the bleakness of the winters?

North Uist captivated us right away, though. Within 15 minutes of driving onto the island via a causeway, we’d seen three short-eared owls and three red deer stags, and we got great views of hen harriers and other raptors. One evening we found ourselves under what seemed to be a raven highway. It felt unlike anywhere else we’d been: pleasingly empty of humans, and thus a wildlife haven.

 

The long journey home: The public transport nightmares of our return trip put something of a damper on the end of the holiday. We left the islands via a ferry to Skye, where we caught a bus. So far, so good. Our second bus, however, broke down in the middle of nowhere in the Highlands and the driver plus we five passengers were stuck for 3.5 hours awaiting a taxi we thought would never come. When it did, it drove the winding road at terrifying speed through the pitch black.

Grateful to be alive, we spent the following half-day in Edinburgh, bravely finding brunch, the botanic gardens and ice cream with our heavy luggage in tow. The final leg home, alas, was also disrupted when our overcrowded train to Reading was delayed and we missed the final connection to Newbury, necessitating another taxi – luckily, both were covered by the transport operators, and we’ll also reclaim for our tickets. Much as we believe in public transport and want to support it, this experience gave us pause. Getting to and around Spain by car was so much easier, and that trip ended up a lot cheaper, too. Ironic!

Guarding the bags in Edinburgh

 

“Take Me Back to the Islands” by Idlewild

Next time: On this occasion we only got as far south as Benbecula (which, pleasingly, is pronounced Ben-BECK-you-luh). In the future we’d think about starting at the southern tip and seeing Barra, Eriskay and South Uist before travelling up to Harris. We’ve heard that these all have their own personalities. Now, will we get back before many more years pass?

Wainwright and Women’s Prizes: Predictions & Wishes

It’s that time of year when all the literary prize news comes at once. Tonight: the announcement of the Wainwright Prize winners. (I was honoured to be invited to the ceremony, but traveling into London was more than I felt up to handling under the circumstances.) Tomorrow, the 8th, the Women’s Prize for Fiction is awarded. It’s been so long since the shortlist announcement that my enthusiasm has waned, but nonetheless, I make predictions and wishes for it as well as the Wainwright below.

 

Wainwright Prize

I’d read (or skimmed, or decided against) all 13 of the UK nature writing nominees, as well as a few from the global conservation longlist, before the shortlists were announced (see my mini-reviews and predictions).

Unfortunately, my favourite from the lists, Vesper Flights by Helen Macdonald, did not make it through to the final round. To some extent it was a victim of the new division into two prizes: the idea seems to be to separate the narrative-driven, personal writing from the scientific, environmentally minded nonfiction. Books that draw on both genres, like Macdonald’s essays this year, and Tim Dee’s and Kathleen Jamie’s excellent travelogues (Greenery and Surfacing) last year, fall into the gap.

Since the shortlist announcement, I’ve read more of Islands of Abandonment by Cal Flyn and started Fathoms by Rebecca Giggs. Both are exceptionally written and impressive in scope, but as her portraits of the world’s derelict places have truly captivated my imagination, I stand by my initial prediction that Cal Flyn will win the global conservation prize.

As for the nature writing prize, I’m torn: The book that I think is of most lasting UK importance, with vital lessons to teach, is English Pastoral by James Rebanks. By contrast, the book that I wholeheartedly loved and admired was Featherhood by Charlie Gilmour. I’d be happy to see either one win.

 

Women’s Prize

Like last year, the winner announcement was delayed by several months, giving me time to forget all about it. Back in April I was very invested in the race (see my thoughts on the longlist; my wish list correctly predicted four of the six on the shortlist), and since then I’ve read and enjoyed a couple more from the longlist.

I predicted it would be Women’s Prize fodder when I read it back in June 2020, and I still think it the safest, strongest contender: The Vanishing Half by Brit Bennett. It’s easy to see this following in the footsteps of An American Marriage: a book club book concerned with race and relationships.

So that’s what I think will win, whereas I marginally preferred the superficially similar but subtler Transcendent Kingdom by Yaa Gyasi and would like to see its author get some recognition, so that’s what should win.

Next prize to think about: The Booker, whose shortlist will be announced on the 14th. On the 13th I’ll give my thoughts on the longlisted novels that I’ve read so far.

New Networks for Nature 2020 (Online)

It’s not November without a New Networks for Nature conference. Originally 2020’s was scheduled to take place in Norwich in July; it was then postponed to the usual November in hopes of an in-person meeting, but ultimately had to be online this year, like so much else. This was my sixth time taking part in this interdisciplinary gathering of authors, academics, and activists (I’ve also written about the 2015, 2016, 2018, and 2019 conferences). The UEA organizers, Jean McNeil and Jos Smith, with New Networks stalwart John Fanshawe, did an excellent job of creating three virtual events for people to engage with from home.

Two pre-recorded panels brought together writers from different fields to reflect on nature literature and the environmental crisis. First up was “New Perspectives on Nature Writing,” picking up on a perennial conference theme.

I was delighted to hear Jessica J. Lee speak – I’ve reviewed both of her nature-infused memoirs, Turning and Two Trees Make a Forest, and in last year’s feedback I suggested her as a future speaker (I’m sure I’m not solely responsible!). After a PhD in environmental history, she moved into more personal writing. Questions of home, place, language, and identity were natural for her as a third-generation migrant. She initially felt alone as a person of colour in nature writing, but when she founded the Willowherb Review she quickly learned that it wasn’t that POC weren’t out there; it was that they did not have opportunities to publish – she has had 300+ submissions per issue to the online literary magazine, which welcomes work from all genres by authors of colour.

(Clockwise from top left) Smith, Arshi, McNeil, Lee.

Also on the panel were Mona Arshi, a Punjabi poet based in London, and McNeil, a creative writing professor. Arshi has been a human rights lawyer and is the current poet-in-residence at Cley Marshes, Norfolk, in association with the Wildlife Trusts and UEA. She has had to try to absorb the landscape via video and sound recordings since COVID-19 has limited her in-person visits. She read a sonnet she wrote about her last trip there in September. All three panellists spoke about land being in some ways beyond language, though.

Jean McNeil’s Ice Diaries is a memoir of a year in residence with the British Antarctic Survey, a very male, scientific world. Antarctica is “no one’s country,” she remarked, though it’s the fifth-largest continent; it’s as if the land has no memory of people. She observed that it’s impossible to write about Antarctica without giving a sense of the journey (so she includes travel writing) and mentioning death. Raised without technology by back-to-the-land parents in Canada, McNeil has been active in the environmental movement in Brazil, Central America, and Africa (as a safari guide). Ice Diaries was already on my TBR, but I’m impressed by her breadth of experience and want to explore her varied work.


The second panel, “States of Emergency,” included an academic, a playwright, the CEO of an environmental charity, and a philosopher and activist. I was intrigued by UEA’s Rebecca Tillett’s brief opening address about contemporary North American indigenous responses to climate change in fiction (her research speciality). Her primary example was the Moon of the Crusted Snow by Waubgeshig Rice, a postapocalyptic thriller in which the Wendigo, a figure from First Nations folklore, embodies capitalism as it consumes people with greed.

(Clockwise from top left) Waters , McNeil, Reed, Tillett, Thornton.

UEA-based playwright Steve Waters is planning outdoor theatre projects at nature reserves. James Thornton, the CEO of ClientEarth, spoke about starting with the science, the “grammar of the Earth.” His team has prevented new coal-fired stations in Europe and encouraged NGOs in China to sue polluting companies. Philosophy professor Rupert Reed was, until recently, an Extinction Rebellion spokesman. He noted that the climate emergency feels too slow and too long – a marathon, not a sprint; people don’t realize how profoundly our way of life and future are threatened. Alas, COVID-19 is not having the desired effect of turning people’s attention to the greater, ongoing emergency. He counselled acceptance and adaptation, stating that hope and action must go hand in hand. Thornton recalled the Dalai Lama telling him early in his career that he needed to get beyond anger because angry people don’t come up with viable solutions. The anger has to be turned into a positive vision.


There were live Q&A sessions for these two panels, but we weren’t able to watch. However, we did attend Saturday’s live keynote event featuring Tim Dee and Kathleen Jamie, two of the finest nature writers working today. Speaking from Cape Town, where he has been stranded since the start of the pandemic, Dee said that his current writing is about birds that are new to him but familiar to his neighbours. He explained that he admires and understands the world through birds, “who carry no bags or passports and are at home wherever they are.” In his work he explores how we are “made by places,” often returning to a place to reprocess his experiences there (e.g. Hungary in his latest book, Greenery). His notebooks, which are often just lists of birds seen, help him to “reinflate” a place when writing about it later.

Jamie agreed that her work also has this quality of “afterwardness” – finding the meaning of an experience long after the moment. She came across as down-to-earth, shrugging off McNeil’s question about transcendence and remarking that a sign above her desk reads “Nay narrative!” What is left for a lyric poet who loses faith in lyricism? For Jamie, the answer is prose poetry, as in “Tree on the Hill,” recently published in the LRB. Her poetry has always been local but her longform nonfiction has only ever come from other places, so while she’s been stuck in Fife she’s been unable to progress. But she never has any idea of what she’s writing, she said; she and her editor work out a theme once a whole book exists (for instance, the linking metaphor for Surfacing – unearthing archaeological evidence and memories).

Dee called himself a materialist – “no ideas but in things” – with language being what we clothe things in. He always double-checks his (sometimes elaborate) metaphors by putting them back onto a bird to ensure they fit. Jamie said she used to believe language was humans’ “fall” and would try to maintain a “pre-language state” for as long as possible every morning, but ultimately she changed her mind, accepting that language is what makes us human; it’s what we do. She acknowledges that nature writing like hers is not going to achieve things in the way that environmental activism can, but she hopes that bringing non-human creatures into the culture (as if it were an ark) can be a way of advocating for them all the same.


A brilliant programme, capped off with some visual and musical delights: “Where Song Began,” a one-hour cello and violin response/accompaniment to Australian birdsong created by Simone Slattery and Anthony Albrecht in January; and a brief virtual tour of the Nature Writing Collection in the British Archive for Contemporary Writing at UEA, which includes the papers of the late Roger Deakin and of (alive and kicking!) Mark Cocker, a UEA graduate. The archive contains Deakin’s drafts and pitches (Waterlog’s working title was “The Waters of the Wondrous Isle,” and he imagined it as an aquatic Rural Rides), photos, and even his Speedo bathing suit; along with Cocker’s field notebooks and fan mail.

 

The two panels, musical event, and archive tour are freely available on the NNN website, and you can watch the Dee/Jamie discussion back here.