Review Catch-Up: Brackenbury, McLaren, Wellcome Collection
As usual, I have a big backlog of 2021–22 releases I’m working my way through. I’ll get there eventually! Today I’m reporting on a poetry collection about English ancestry and wildlife, a vision of post-doubt Christian faith, and a set of essays on connection to nature, specifically flora. (I also take a brief look at some autofiction that didn’t work for me.)
Thorpeness by Alison Brackenbury (2022)
I’m familiar with Brackenbury from her appearance at New Networks for Nature in 2016 and her latest selected poems volume, Gallop. This, her tenth stand-alone collection, features abundant imagery of animals and the seasons, as in “Cucu” and “Postcard,” which marks the return of swifts. Alliteration is prominent, but there is also a handful of rhymes, like in “Fern.” Family history and the perhaps-idyllic rural underpin the verse set in Lincolnshire and Gloucestershire as Brackenbury searches for ancestral graves and delivers elegies.
I especially loved “Aunt Margaret’s Pudding,” a multipart poem about her grandmother’s life as a professional cook and then a mother of four, and “My Grandmother Waits for Christmas,” about a simple link between multiple generations’ Christmases: a sugar mouse. Caring for horses is another recurring theme; a 31-year-old blind pony receives a fond farewell.
There are also playful meetings between historical figures (“Purple Haze,” a dialogue between George Frideric Handel and Jimi Hendrix, who saw the composer’s ghost in their shared London home) and between past and contemporary, like “Thomas Hardy sends an email” (it opens “I need slide no confessions under doors”). “Charles Dickens at Home” was another favourite of mine. The title is the never-to-be-reached destination in the final poem, “Shingle.” A number of these poems were first broadcast on BBC Radio.
With thanks to Carcanet Press for the e-copy for review.
Faith after Doubt: Why Your Beliefs Stopped Working and What to Do about It by Brian McLaren (2021)
I’ve explained before how McLaren’s books were pivotal to my spiritual journey, even before I attended the church he founded in Maryland. (I’ve also reviewed his previous book, God Unbound). His progressive, environmentalist theology is perfect for continuing searchers like me. At one of last year’s online Church Times Festival events, I saw him introduce the schema that underpins this book. He proposes that the spiritual life (not just Christian) has four stages that may overlap or repeat: simplicity, complexity, perplexity and harmony. The first stage is for new zealots who draw us–them divisions and are most concerned with orthodoxy. In the second, practitioners are more concerned with practicalities: what works, what makes life better. Perplexity is provoked by cynicism about injustice and hypocrisy, while harmony moves beyond dualism and into connection with other people and with nature.
McLaren suggest that honest doubting, far from being a problem, might present an opportunity for changing in the right direction, getting us closer to the “revolutionary love” at the heart of the gospel. He shares stories from his own life, in and out of ministry, and from readers who have contacted him remotely or come up to him after events, caught in dilemmas about what they believe and whether they want to raise their children into religion. Though he’s fully aware of the environmental crisis and doesn’t offer false hope that we as a species will survive it, he isn’t ready to give up on religion; he believes that a faith seasoned by doubt and matured into an understanding of the harmony of all things can be part of a solution.
It’s possible some would find McLaren’s ideas formulaic and his prose repetitive. His point of view always draws me in and gives me much to think about. I’ve been stuck in perplexity for, ooh, 20 years? I frequently ask myself why I persist in going to church when it’s so boring and so often feels like a social club for stick-in-the-mud white people instead of a force for change. But books like this and Robin Wall Kimmerer’s Braiding Sweetgrass, my current soul food, encourage me to keep pursuing spiritual connection as a worthwhile path. I’ll be seeking out his forthcoming book (due out in May), Do I Stay Christian?, too.
Some favourite lines:
“only doubt can save the world. Only doubt will open a doorway out of hostile orthodoxies – whether religious, cultural, economic or political. Only through the difficult passage of doubt can we emerge into a new stage of faith and a new regenerative way of life. Everything depends on making this passage.”
“Among all the other things doubt is – loss, loneliness, crisis, doorway, descent, dissent [these are each the subject of individual chapters early on in the book] – it is also this: a crossroads. At the crossroads of doubt, we either become better or bitter. We either break down or break through. We become cynics or sages, hollow or holy. We choose love or despair.”
“Blessed are the wonderers, for they shall find what is wonderful. … Blessed are the doubters, for they shall see through false gods. Blessed are the lovers, for they shall see God everywhere.”
With thanks to Hodder & Stoughton for the free copy for review.
This Book Is a Plant: How to Grow, Learn and Radically Engage with the Natural World (2022)
This collection of new essays and excerpts from previously published volumes accompanies the upcoming Wellcome Collection exhibition Rooted Beings (a collaboration with La Casa Encendida, Madrid, it’s curated by Bárbara Rodríguez Muñoz and Emily Sargent and will run from 24 March to 29 August). The overarching theme is our connection with plants and fungi, and the ways in which they communicate. Some of the authors are known for their nature writing – there’s an excerpt from Merlin Sheldrake’s Entangled Life, Jessica J. Lee (author of Turning and Two Trees Make a Forest) contributes an essay on studying mosses, and a short section from Kimmerer’s Braiding Sweetgrass closes the book – while others are better known in other fields, like Susie Orbach and Abi Palmer (author of Sanatorium).
I especially enjoyed novelist Rowan Hisayo Buchanan’s “Wilder Flowers,” which is about landscape painting, balcony gardening in pots, and what’s pretty versus what’s actually good for nature. (Wildflowers aren’t the panacea we are sometimes sold.) I was also interested to learn about quinine, which comes from the fever tree, in Kim Walker and Nataly Allasi Canales’ “Bitter Barks.” Sheila Watt-Cloutier’s essay on the Western influence on Inuit communities in northern Canada, reprinted from Granta, is one of the best individual pieces – forceful and with a unique voice, it advocates reframing the climate change debate in terms of human rights as opposed to the economy – but has nothing to do with plants specifically. There are also a couple of pieces that go strangely mystical, such as one on plant metaphors in the Kama Sutra. So, a mixed bag that jumbles science, paganism and postcolonial thought, but if you haven’t already encountered the Kimmerer and Sheldrake (or, e.g., Rooted by Lyanda Lynn Haupt and Losing Eden by Lucy Jones) you might find this a good primer.
With thanks to Profile Books / Wellcome Collection for the free copy for review.
And one that really didn’t work for me; my apologies to the author and publisher.
I Love You but I’ve Chosen Darkness by Claire Vaye Watkins (2021)
What a letdown after Gold Fame Citrus, one of my favourite novels of 2015. I’d also read Watkins’s debut short story collection, Battleborn, which won the Dylan Thomas Prize. Despite the amazing title and promising setup – autofiction that reflects on postpartum depression and her Mojave Desert upbringing as a daughter of one of the Manson Family cult members – this is indulgent, misguided, and largely unreadable.
A writer named Claire Vaye Watkins flies to Nevada to give a lecture and leaves her husband and baby daughter behind – for good? To commemorate her mother Martha, who died of an opiate overdose, she reprints Martha’s 1970s letters, which are unspeakably boring. I feel like Watkins wanted to write a memoir but didn’t give herself permission to choose nonfiction, so tried to turn her character Claire’s bad behaviour into a feminist odyssey of sexual freedom and ended up writing such atrocious lines as the below:
“I mostly boinked millennial preparers of beverages and schlepped to book festivals to hook up with whatever adequate rando lurked at the end of my signing line. This was what our open marriage looked like”
“‘Psychedelics tend to find me when I need them,’ she said, sending a rush of my blood to my vulva.”
Her vagina dentata (a myth, or a real condition?!) becomes a bizarre symbol of female power and rage. I could only bear to skim this.
Some lines I liked:
Listen: I am a messenger from the future. I am you in ten years. Pay attention! Don’t fetishize marriage and babies. Don’t succumb to the axial tilt of monogamy! I don’t pretend to know the details of your…situation, but I guarantee you, you’re as free as you’ll ever be. Have sex with anyone you want. Enjoy the fact that it might happen any minute. You could have sex with a man, a woman, both—tonight!
I went from being raised by a pack of coyotes to a fellowship at Princeton where I sat next to John McPhee at a dinner and we talked about rocks and he wasn’t at all afraid of me.
With thanks to riverrun for the proof copy for review.