Baileys Prize Shortlist Wishes

This is what I would put on the Baileys Prize shortlist if it were all up to me (which, obviously, it should be). The shadow panel has reached a group decision (with, I might add, a minimum of contention, though we’ve had some amazing and impassioned discussions about the various merits of each book), and our (un)official shadow shortlist will be posted tomorrow (Sunday). For now, though, here’s what I’d have:

The Power, by Naomi Alderman (my review)

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What it’s about: One day, all over the world, women and girls discover that they have a power: they can harness and discharge electrostatic energy. From this apparently gimmicky premise, Alderman spins the stories of four people—three women and a man—who are affected by the new global order.

Why I picked it: For the ease with which it rises above those charges of gimmickyness. Alderman isn’t positing this for the sake of a cool premise; she’s interested in the most fundamental aspects of what makes human civilisation possible. The title is very apt: this book might seem to be about gender, but really what it’s about is power, and whether it is even reasonable to suggest that humanity is capable of creating a society where power is shared equally. It is the book from the longlist that most haunts me even now, weeks after reading it.

The Mare, by Mary Gaitskill (my review)

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What it’s about: Velvet doesn’t know that she’s a natural horse rider until a summer trip courtesy of the Fresh Air Fund. For two weeks, she stays with Ginger, a childless artist in her late forties, and Paul, a professor at a small college in upstate New York. Across the road, there’s a stables. It’s there that Velvet meets Fugly Girl, a seriously damaged mare, learns to ride, and becomes invested in salvaging Fugly Girl’s spirit.

Why I picked it: For the strength, compassion, and rejection of stereotyping that Gaitskill brings to her character work. Velveteen is one of the most impressive fictional creations I’ve come across all year: a pre-teen of Puerto Rican descent when we meet her, she grows over the course of several years into a beautifully complex fourteen-year-old, full of age-appropriate longing to fit in and to meet boys, as well as distinctly mature concerns about her physically abusive mother Silvia, and, above all, a driving passion for horses. Silvia is almost completely inexplicable to soft, middle-class Ginger: a woman who tells her only daughter that she’s ugly, a woman who hits her kids, a woman who loves her kids so hard that she can’t show them any love. And Ginger is well-meaning, kind, and often very wrong, a refreshingly sharp take on white liberalism.

The Sport of Kings, by C.E. Morgan (what I wrote; scroll down)

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What it’s about: The book follows the Forge family, one of Kentucky’s oldest racing dynasties, as Henry Forge attempts to create the perfect racehorse, and to retain control of his own family—specifically, headstrong daughter Henrietta. Meanwhile, Allmon Shaughnessy, a black ex-con, is hired at the Forge farm and must come to grips with Forge’s racism, his own past, and his interest in Henrietta.

Why I picked it: This book bites off more than most other books even glanced at this year (yes, I know that metaphor is mixed, thank you). Morgan wants to talk about everything: racism in America, drug-dealing, heredity, the mythos of the Old South, parenthood, the line between madness and dedication. If the novel is occasionally baggy, that’s because there’s a lot in it, and for my money, she integrates her themes pretty damn well. It was among the most ceaselessly entertaining and moving of the longlist contenders, and I like ambition.

Barkskins, by Annie Proulx (my review)

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What it’s about: Much like The Sport of Kings, Barkskins focuses on the growth of an industry in America—in this case, logging—through the lens of family—in this case, the Sels and the Duquets, over the course of about four centuries.

Why I picked it: Did I say that I like ambition? Well, I do. Is this book flawed? Hell yes. Is that because it’s too long? Hell yes. Is it too long because Proulx is trying to make a point about time and legacy and the importance of taking the long view? Precisely. Is that point conveyed through characters who—sometimes—we get to know and love, with a staggering array of background detail that makes the whole thing (if you like detail) like a gorgeous tapestry, or (if you don’t like detail) like a metastasizing mess? Yes, it is. Ultimately I think one’s reaction to Barkskins comes down to whether you’re willing to forgive its sins in deference to what it’s trying to achieve, and in awe at what it actually does achieve. I’m willing.

First Love, by Gwendoline Riley (what I wrote; scroll down)

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What it’s about: Neve is a young writer married to older writer Edwin. Over the course of scarcely two hundred pages, we learn about her marriage, her background, and her needy, manipulative, intensely deluded mother.

Why I picked it: First Love was not a book that I actually enjoyed reading, which is exactly why I’ve chosen it: Riley is so good at dialogue, at evoking tension and venom and the nuances of love and hate that often characterise parental and marital relationships, that you have to just stand back in awe. It ain’t pretty, but it’s a hell of a stylistic achievement.

Do Not Say We Have Nothing, by Madeleine Thien (my review)

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What it’s about: Framed by a ’90s-set device where eighteen-year-old Ai-ming tells her family’s history to Marie, the daughter of a family friend, the book spans seventy years in the middle of the twentieth century in China. It covers the effects of the Cultural Revolution on a family, focusing especially on three young musicians at the Shanghai Conservatory, and the ways in which they bend or snap under ideological pressure, depending on their personalities.

Why I picked it: It’s by far the most sophisticated book on the longlist, and could stand as an example of a book that not only attempts the breadth and depth of Barkskins and The Sport of Kings, but fully succeeds—and in fewer pages. Thien’s characters are always people that we care about, and the dilemmas they face are so profound—how do you maintain integrity as an artist under oppression? Is there even a good reason for creating art when people are being killed daily for no reason?—and dealt with in such a mature fashion. I almost wish it hadn’t been as good, because it’s already done well on the Canadian and British prize circuit and it’s time for someone else to have the spotlight, but goddamn, the universal praise is well deserved.

Stay tuned for the shadow panel’s shortlist, to be revealed tomorrow chez Naomi (The Writes of Woman)

March Superlatives

In March the Baileys Prize longlist was announced and I started duties as part of the prize’s shadow panel, which involved reading all of the longlisted books I hadn’t already gotten to. This amounted to ten (well, nine and a half; I’d already read part of The Lesser Bohemians), plus some reading for work that included a couple of thrillers, some social realism, and some historical fiction. Overall, it’s been a very good, if exhausting, reading month: eighteen books finished. This is productive even for me.

best thriller: Sand, Wolfgang Herrndorf’s newly released novel that combines the black humour of Greene with the social observation of Ian Fleming, but better written. It’s nasty, funny, irresistibly engaging, confusing, and utterly nihilistic. (review)

best surprise: I read Adam Haslett’s Imagine Me Gone because there was a damaged paperback copy at work that we couldn’t sell or return. I was expecting a basic story about dysfunctional, miserable WASPs. Instead, I got a book and a writer capable of articulating the complex motives behind emotions with such precision that I wanted to underline bits—and I never underline bits. Highly, highly recommended.

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cut nearest to the bone: Polly Clark’s debut novel, Larchfield, is about a young pregnant poet, Dora, who moves with her husband to Helensburgh, a small community in Scotland. W.H. Auden, she learns, used to teach at the local school. When Dora has the baby, a combination of neighbourly malice, loneliness, and loss of personal identity drives her to seek solace in learning about Auden’s experiences in Helensburgh. Curiously, neither working at Mumsnet nor talking to friends with babies has brought home to me as clearly as Larchfield did what a thoroughly frightening, isolating, relentless undertaking motherhood is. It seriously, seriously scared me about having children. (I think there is a longer post in this—in how fiction represents motherhood, and in how that particular thematic obsession in literature by and about women is received by women like me—young, childless, starting to wonder—but I’m leaving it for now.)

solidest thriller: Being the most solid of something is not the same as being the best at something, but Jane Harper’s The Dry is a good example of a crime novel that will please pretty much everyone. It is what people usually mean when they say “well-written”: nothing clunks or stands out; the plot is gory enough to be interesting without relying on the torture porn that seems to be the crime genre’s stock-in-trade these days; the villain is believable, and you don’t see the reveal coming from a mile away. Also, it’s set in a small Australian farming community, which is a fairly unusual setting and gives the book a sense of uniqueness. If you like decent crime, pick it up.

Mantel for the easily distracted: Sarah Dunant’s take on Renaissance Italy and the Borgias, In the Name of the Family. I found that she covers much of the same thematic ground as Mantel does—autocratic power, the role of the church in government, moral compromise in exchange for a measure of safety—but does so with a little more zip to her plotting. Highly recommended. (review)

most meh: I feel bad about saying this. There’s nothing wrong with The Gustav Sonata, Rose Tremain’s Baileys Prize-longlisted novel about a young boy growing up in post-war Switzerland and his lifelong friendship with talented pianist Anton. It just felt aimless. The writing is very lucid and the characterisation sympathetic, but it faded from memory more and more as I compared it to other longlisters. (review)

best Shakespeare rewrite: Hag-Seed, by Margaret Atwood. This is, without a doubt, the most successful installment of the Hogarth Shakespeare project so far, not least because Atwood acknowledges the existence of her source material (The Tempest) within her novel, and thus is allowed to write a book that stands on its own and can explicitly examine The Tempest’s preoccupations. Not Atwood’s best novel, but really good for Shakespeare nerds. (review)

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best reread: I got ill over a weekend and read American Gods by Neil Gaiman all over again, and it was great. It’s still the best of his books, I think (maybe a close contender with Neverwhere; I’d have to read the latter again to decide.) His take on modern gods—the sharp businessman Mr. Wednesday (Odin), the dapper and shrewd Mr. Nancy (Anansi), undertakers Jacquel and Ibis (Egyptian underworld gods Anubis and Thoth)—remains fresh and clever, and he conjures the menace of Americana like no other author I know.

most cute: This is definitely damning with faint praise, I’m afraid. I did like Yewande Omotoso’s The Woman Next Door; her portrayal of two elderly, crotchety neighbour ladies, one white and one black, is irresistibly charming, and she does engage with serious political and historical ideas. But the flavour the book left in my mouth was The Help meets Alexander McCall Smith, where people are mildly chastised for their prejudice but mostly let off the hook, and everything is okay at the end. I wanted more than that. (review)

most intelligent: Pretty much all of the books I read this month were intelligent, so this is kind of a crap category. But Do Not Say We Have Nothing, by Madeleine Thien, engages on such a high level with questions of ethics and art-making and agency in Mao’s China that it leaves much of its competition in the dust. I can’t help feeling a Baileys win would be somehow unfair (it’s already won the Giller, and been Booker Prize-shortlisted; let someone else have a go), but it would be very richly deserved. (review)

hardest punch to the gut: The Power, by Naomi Alderman. Alderman takes a simple premise—what if girls and women had the ability to discharge electricity from their bodies?—and uses it to explore some of the deepest questions about what human civilisation even is. If Thien is interested in the cerebral, Alderman is all about the fundamental. This book shook me. It’s a big deal. (review)

best sex: Unsurprisingly, Eimear McBride’s The Lesser Bohemians. Never have I encountered an author who understands so clearly that sex isn’t interesting because of who put what where, but because of who feels what when, and why. In other words, she maps sex as an emotional experience—and she also explores what sex is like when emotions are missing, and isn’t judgmental about it. (review)

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should have been on the Baileys longlist: For all my days, there are some things I will never understand about prize lists. The omission of Sarah Hall’s The Wolf Border in 2015 was one of them; the omission of Danielle Dutton’s Margaret the First this year is another. It’s a short, choppy, odd little novel, just like its subject: Margaret Cavendish, seventeenth-century Duchess of Newcastle and first female science fiction writer in the Western world, as far as we know. I loved it for its utter idiosyncracy—the prose so full of sharp, well-chosen images—for the efficiency with which Dutton sketches Margaret for us (it’s a very short book and by the end of it we know her as we do a dear friend), and for the lack of sentimentality with which she closes it. Seek this out.

most missed opportunity: Little Deaths by Emma Flint is a historical noir that deals with the hideous misogyny of 1960s New York in the context of an investigation into the murders of two children. Flint rouses our fury that the police are so much less interested in really investigating than they are in punishing Ruth Malone, our protagonist, for being separated for her husband and sexually active—but she never makes us feel complicit in that kind of judgment, and if she’d done that, it would have been a more powerful novel. (review)

full marks for ambition: The 700+ page opus from Annie Proulx, Barkskins. Telling the stories of the descendants of René Sel and Charles Duquet from the 1690s to the present day, it also encompasses Manifest Destiny, forest management, racial prejudice, and legacy. It flounders at points, and it’s too damn long, but overall it’s well worth the time. (review)

most classically Womens Prize?: Not that I want to slag off novels about relationships, marriages, infertility, and the staggering hypocrisy of the way society treats men vs. the way it treats women, but this is well-worn ground and exactly the sort of thing the Women’s Prize seems to go for sometimes. Stay With Me, Ayobami Adebayo’s Nigeria-set novel, covers all these points and introduces a bit of melodrama in the form of death and war. It’s good enough but may turn out to be forgettable. (review)

best find: Mick Herron, whose first entry in the Slough House series of spy thrillers, Slow Horses, isn’t just good for a genre novel—it’s good for any kind of novel. Herron is the Tana French of espionage writers: his grasp of the way language flows is absolute, he trusts his readers, he’s funny, his dialogue is on point. Plus the story—group of disgraced spooks find themselves trying to save a boy whose beheading is scheduled to occur live on the Internet in 48 hours—is a cracker, not least because the details of the boy’s abduction are (not to spoil anything for you) so precisely not what you initially think they are. There are three more in the series thus far, and I’m in it for the long haul.

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most unexpectedly genre-bending: Black Water, Louise Doughty’s first book since the acclaimed Apple Tree Yard. It’s sort of a spy thriller, but the protagonist isn’t a spy; it’s sort of a love story, but the love is complicated by reality and history; it’s sort of a historical political novel, but the present day takes up two-thirds of the book. It’s mostly set in Indonesia and its protagonist is part-Indonesian, part-Dutch, which made a nice change from the Anglo-American-centricity of other books with a similar focus. Doughty too knows how to grip a reader, and knows how to construct a sentence that hangs together and transitions nicely to the next sentence. This is just out in paperback, and I’d highly recommend it.

what’s next: Who knows?! I’m posting my personal Baileys Prize shortlist tomorrow, and the shadow panel is posting our (un)official shortlist choices on Sunday. After that, this project will be more or less wrapped up, and I have well over twenty-five books (reading copies; damaged copies we can’t sell that we’re allowed to take home; etc.) waiting to be prioritised, so it’s not like I’m out of choices…

Baileys Prize Longlist Reading 6: Adébáyò

Being a series of short reviews of the Bailey’s Prize longlisted titles I hadn’t read before the announcement. These are mostly hack-jobs, consisting of extrapolations of my reading notes. Luckily I tend to make notes in full sentences. Spoilers ahead.

Stay With Me, by Ayòbámi Adébáyò

31349579(Quick note: I tried to put the proper accent marks in Adébáyò’s name, but some of the vowels have marks both above and below the letters, and WordPress’s symbols dictionary isn’t advanced enough to handle that, apparently. I’ve done my best. Of interest to some readers may be that the US jacket for Stay With Me makes no effort at all to reproduce the accent marks, while the UK jacket has all of them.)

Stay With Me is, in its most elevator-pitch description, about infertility. (It actually isn’t, quite, but we’ll talk about that later.) Yejide and Akin Ajayi have been married for several years. It is the early 1990s and both are degree-holding Nigerians living in Ilesa; Yejide owns her own business, a hair salon, and Akin is a banker. Yet they remain childless. Akin’s family is growing restless. As the book opens, Yejide is presented by her in-laws and husband with a fait accompli: Akin has taken a second wife, the much younger Funmi. Though she will be technically of lower rank than Yejide, the hope is that she will be able to bear a son—ideally many—to carry on the family’s name. We also learn, through a flash forward to 2013, that Akin and Yejide somehow become estranged, and remain so for decades. Adébáyò spends the rest of the novel flipping us back and forth between the events of the early ’90s that destroyed the Ajayis’ marriage, and the opportunity for reconciliation that arises in the chapters set in 2013.

The first half of the novel is the strongest, although it is treading on familiar ground. It does not, of course, occur to anyone that the problem might not be with Yejide’s womb but with Akin, and her family and in-laws’ patronising, dismissive, often downright cruel attitudes towards her are painted vividly. Yejide herself is a force of nature: infuriated with everyone who has sanctioned the match between Akin and Funmi, she prepares a meal for the matchmakers and the new bride that is significantly less glorious than protocol demands—which also happens to bring them all down with explosive diarrhoea. Her rage has deep roots: her mother was a nomad whom her father never married and who died in childbirth, and she was raised by stepmothers who considered her the child of a whore. This is rarely played for sentiment or even dwelt upon very heavily, but it explains everything about Yejide that might otherwise seem excessive: her passionate attachment to the ideal of a family, her refusal at one point to accept that she is having a phantom pregnancy, her explosive temper, and her strength of will. Where Akin is mostly passive and rational, often asking her to calm down, she is presented as an active, aggressive, emotional dynamo.

SPOILERS DEAD AHEAD – It is because of this that the book’s twist and development works as well as it does (and whether it works particularly well is another question, but this is why it works at all.) We learn partway through the novel that not only has Yejide’s affair with her brother-in-law Dotun been fully engineered, without her knowledge, between Dotun and Akin—so that she can get pregnant—but that the reason it is necessary is because Akin is impotent. He has known this for decades, but has lied to Yejide (a virgin before their marriage) about what constitutes “normal” sex, and so she has spent their entire relationship believing that Akin’s inability to achieve an erection has nothing to do with her failure to conceive. Whether it’s at all plausible that a woman pursuing a degree in Nigeria in 1985 would be so painfully ignorant about the logistics of sex—and I’m perfectly willing to accept that it is plausible; I simply don’t know—is a potential problem, but the thematic perfection of this twist is in its reversal of that earlier established dynamic between Yejide and Akin. We’ve thought, all this time, that she’s the one making choices (albeit desperate ones, like paying a faith healer and lugging a goat up a mountainside for a fraudulent fertility ceremony). Instead, she has been acted upon, without her knowledge or consent, all this time: not just for the duration of their marriage, but for as long as they have known each other. And by extension, so have we.

After this revelation, which is pretty melodramatic in itself, things get more melodramatic. (Oh, there’s also a sort-of-murder—if I were a prosecuting lawyer I’d call it something like second-degree manslaughter.) When Yejide conceives, the first baby dies, apparently a random victim of SIDS. Her second and third children are both born with sickle-cell disease. There is more death. There is a military coup. There is another coup.

This is the source of my other problem with the book, which is the war. I appreciate that if your novel is set in Nigeria in the early ’90s, you’re going to have to handle civil war; the problem is that reading protocols (at least for literary fiction) prime us to think of civil war as a Big Deal, a Major Theme. We expect civil war either to be the whole point of a book (for which, see Half of a Yellow Sun) or we expect its relatively small impact to be part of a more satirical or nihilistic general flavour (as in Beauty Is A Wound, where atrocity’s commonplaceness dulls individual horrors, and where that’s exactly the point.) Instead, in Stay With Me, we get the coups and the war as a kind of wallpaper; fighting is what prevents Yejide from reaching Akin and her third baby at a crucial point in the plot, but there’s no sense that the conflict is thematically important. In a way this is in the novel’s favour—Adébáyò isn’t writing a political novel, but a domestic one—but under other circumstances, I would have suggested that, if your novel isn’t political, it’s possibly not necessary to introduce a civil war. Adébáyò, however, is trapped by history. You can’t write a novel set in this time and place and pretend nothing happened, but then you have to make the conflict seem relevant to the story you’re trying to tell, and it just isn’t here.

All of this makes it sound as though I didn’t enjoy the book very much, which isn’t the case. It’s a very affecting page-turner about the way that men and women relate to one another, especially in situations where their capabilities are equal but the expectations surrounding them are wildly different. Yejide and Akin struggle to balance tradition and the demands of their relatives and heritage with their own awareness of modernity, in terms both of medical science and of relationships. Their struggle is sympathetic and engaging, and the book’s ending—though a little unbelievably sunny—satisfied. I can’t help thinking, though, that I’ll have forgotten about it in a few months’ time; it will have blurred together with other depictions of domestic turmoil and gendered hypocrisy. That doesn’t make it a bad book; it’s just not enough to shortlist it.

The Baileys Women’s Prize for Fiction shortlist is announced on 3 April. For more commentary, see the rest of the Shadow Panel: Naomi, Antonia, Meera and Eric. Stay With Me is published by Canongate and is available in hardback.

Baileys Prize Longlist Reading 5: Proulx

Being a series of short reviews of the Bailey’s Prize longlisted titles I hadn’t read before the announcement. These are mostly hack-jobs, consisting of extrapolations of my reading notes. Luckily I tend to make notes in full sentences. Spoilers ahead.

Barkskins, by Annie Proulx

51qccavjjel-_sx326_bo1204203200_Before we start, let’s be clear about one thing: Barkskins is extravagantly, almost defiantly, flawed. For one thing, it is far too long. Nobody needs 717 pages all at once; I know it is traditional to make exceptions for War and Peace and Clarissa but I am honestly not sure that even they make the most of their unwieldy page count. Barkskins certainly doesn’t need it; it would always have been a big book, mind you, but it could easily have been 200 pages shorter. For another, that length is compounded by Proulx’s tendency to sacrifice depth to breadth, most notably in terms of her characterisation. Characters are introduced, get married, go to seek their fortune, and die choking on river water or crushed by a falling log, all within the space of five pages—not just once, but repeatedly. As the book edges closer to contemporaneity, we’re allowed to focus more on individuals (I think this may also have something to do with the upward trajectory of the average lifespan), but there’s still a lot to keep track of, not least how all of these people relate to one another. (There are two family trees provided, but, for reasons surpassing understanding, they are in the back, so unless you flick through the whole volume first, you won’t know they’re there until it’s far too late.) It is the sort of book that could not have been published without the author being a big enough name to guarantee that it’d be worth it.

And yet, unlike most such books, Barkskins is actually pretty good. Once it settles down and starts focusing for longer stretches on individual characters, we find people who are worth caring about. There is the sexually aggressive Posey, who engineers not only the death of one husband who’s no good to her, but goes on to seduce and marry James Duke, heir to the Duke logging fortune. There is her daughter Lavinia, who from the 1880s onwards runs the business more competently and ruthlessly than any of the men on its board. There is part-Mi’kmaq Jinot Sel, who travels to New Zealand with his employer and patron and is horrified by the naive paternalism shown by whitemen towards the native Maori. (This eventually gets Jinot’s employer killed, which isn’t good news for Jinot either.) Everywhere, for over three hundred years, we are met with two things: the visceral ways in which men (and women) react to forests, and the complacent conviction of whites that they know best, wherever they are, whichever indigenous nation they’re encountering.

Barkskins is a lot like another book on the Baileys Prize longlist, The Sport of Kings, in that it refracts the history of an entire industry in North America through the focusing lens of a family (or two). Barkskins takes a much longer view—it starts in the 1690s and goes all the way up to 2013, where The Sport of Kings only starts in the nineteenth century—but Proulx’s and Morgan’s projects are almost identical. They ask us to see the ways in which racial prejudice is a definitive part of the American identity, and in particular of the business culture that America developed. Where Morgan focuses on the endemic racism of the South created by plantation slavery, Proulx looks much further back: the experience of black Americans is entirely absent from Barkskins, but only because she focuses on the displacement and total destruction of Native American ways of life. Though much of this is achieved through despoiling the natural habitat (I lost count of the number of times characters proclaimed that the forest needed no conservation, because it was infinite—literally too big to fall), a lot of it is also achieved through racial mixing. This starts in generation one, when Charles Duquet and René Sel both have children with Mi’kmaq women in New France (now Canada), and the effects of it continue to be felt for centuries: young men in later generations return to a dying Mi’kmaw village (yes, it’s spelled both ways) headed up by the long-lived patriarch Kuntaw. They’re mixed-race, poor, and looking for a place they can belong, but the old ways are disappearing fast, and there simply aren’t enough Mi’kmaq being born to replace the ones who are dying. It is also interesting to note that the Sels, who never attempt to hide or erase the Native parts of their heritage, develop into a dynasty of lumberjacks: they are professionals and have deep knowledge, but they are the workers. The Duquets, meanwhile—a line which at one point early on seems as though it might run out of boys, prompting Charles Duquet to adopt three from European orphanages—become the Dukes, owners of the greatest logging empire in North America. Their success exists alongside their utter rejection of any whiff of Mi’kmaq in their family’s past. (Proulx also dwells gleefully on the deep irony of a company that prides itself on family ownership and heredity being founded on adoption, a non-blood relationship.)

Proulx isn’t just interested in race fatalism, though; she uses race to comment on environmental choices. Whitemen are baffled by the Native American tendency not to develop and cultivate land, not to “improve” it; most white people genuinely see this as a sign that natives are unfit to live in the country. The Mi’kmaq, meanwhile, as well as representatives of other tribes and nations that we see, cannot understand what whitemen think they are doing: their “improvement” involves slash-and-burn cutting, huge amounts of wasted timber, erosion of topsoil leading to flash floods and landslides, and the total eradication of wildlife, which doesn’t seem much like improvement from an indigenous—or, indeed, sensible contemporary—point of view. Proulx mostly avoids the “magical Indian” stereotypes of inscrutable redmen in touch with the spirit of the forest, but she makes it quite clear that centuries of rapine and our current ecological disaster situation is due to the greed of white people. There’s a grain of hope: near the end of the book, a Duke son begins to take an interest in replanting, and develops a seedling nursery which later becomes a fully-fledged foundation that (in a nice touch) gives a grant to two young Sel descendants to study forestry and participate in a replanting project. And that grain of hope is appropriately complicated by the book’s final page; we want to believe that human ingenuity and determination can fix this problem, but we can’t fix everything.

So, final verdict time. There are awkward parts to Barkskins; quite apart from the length and the often-perfunctory investment in characters, we’re often treated to infodumps in the form of conversation which sounds stilted and silly even for a historical recreation. But overall? It’s surprisingly readable; when we do get the space to care about characters, they’re rounded and vivid; and Proulx’s staggering ambition is in large part repaid by the realism with which she corrals her themes and her loose ends. To be honest, I wouldn’t complain if it ended up on the shortlist. It’s trying to do something immense, and I think that’s worth celebrating.

The Baileys Women’s Prize for Fiction shortlist is announced on 3 April. For more commentary, see the rest of the Shadow Panel: Naomi, Antonia, Meera and Eric. Barkskins is published by 4th Estate, and is available in hardback.

Baileys Prize Longlist Reading 4: Flint

Being a series of short reviews of the Bailey’s Prize longlisted titles I hadn’t read before the announcement. These are mostly hack-jobs, consisting of extrapolations of my reading notes. Luckily I tend to make notes in full sentences. Spoilers ahead.

Little Deaths, by Emma Flint

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Little Deaths is based on the real-life murder of two children in 1965, in Queens, New York, and the subsequent police investigation, which focused heavily on their mother, Alice Crimmins. Flint’s character is named Ruth Malone, but everything about her is Crimmins-esque: the fact that she is separated from her husband; her public persona (flirtatious to men; indifferent to most women); and, of course, her identity as a “striking, slender, redheaded cocktail waitress”. We know that she is these things because the newspapers that report on the murders of her children use no other words when they talk about her—and they talk about her a lot. The whole project of Little Deaths is to be a condensed cry of outrage at a police force and a tabloid media that, when faced with a woman who defies their expectations of femininity—and in particular of motherhood—respond by villainizing her, despite the utter lack of evidence against her.

Flint knows her noir tropes, and she uses them with contagious glee: who wouldn’t smirk with recognition at the crusty, cynical newspaper boss Friedemann, or at the fresh-faced young reporter Pete Wonicke, or at slimeball mafioso Lou Gallagher? Like most recognisable character types in genre fiction, these ones function as signposts: they let us know exactly what kind of a book we’re in.For a while, I found this superficially fun but, on a deeper level, a bit wearying. If we’re meant to be struck—as we clearly are—by the poisonous hatred of women that infects head detective Devlin’s campaign against Ruth, and by the more cynical casual misogyny of Friedemann and Wonicke’s newspaper, and by Lou Gallagher’s systematic misuse of women, well, we are; we could hardly not be, given how frequently Devlin spews words like “bitch” and “whore”, and how often we get to see the newspaper stories about the investigation. All of it walks a fine line between convincing characterisation of awful people, and outright caricature. Sometimes it tips over; an overheard conversation between Devlin and his deputy, Quinn, shows us just how much he values the presentation of male control (he rebukes Quinn for having an unironed shirt, not because it’s sloppy per se but because it suggests that he can’t get his wife or mother to take good enough care of him, which, obviously, makes him less of a man and therefore less worthy of respect). The conversation does what it’s meant to— shows us how deep Devlin’s issues with women and power run—but it does that with all the seams showing. The fact that I read it and instantly thought, This is here to show us how deep Devlin’s issues with women and power run says a lot.

Pete Wonicke is where Flint complicates things. He’s presented to us in the way that you present characters whom you want your readers to like: a guy from the sticks making his way in the big city, feeling vaguely guilty about leaving his mother, pursuing his dream of big-city journalism. And yet there are little details that feel undeniably weird: he fixates on Ruth from the start, not as a villain but as a Not Like Other Girls girl. He stakes out her apartment on his own time; when she appears in the window, he is aroused and ends up masturbating when he returns home. When he’s asked, late on in the book, how well he knows Ruth, he says “We’re…close”, though the extent of his interaction with her is one interview, and that one supervised. It’s a moment that throws the reader (are they close? Is there something we’ve missed?), and that serves to massively complicate Pete’s good-guy status. (Assuming, that is, that the wanking and the stalking haven’t already been dubious enough for you.) How we’re meant to feel about Pete is really only clarified by the ending—and I really mean the ending, like the very last page—which serves up a narrative choice that pleased me very much, and was certainly less expected than the eventual revelation of the killer.

In fact, the least successful aspect of the book is the one in which it is a crime thriller. This is kind of ironic for something that identifies itself so thoroughly as noir, but it’s true: apart from the fact that we’re pretty sure Ruth didn’t do it, we get nothing that even remotely resembles the sowing of clues or motive pointing towards someone else. When the killer is revealed, their identity is not that surprising, but only because if you look at the situation objectively—and discount Ruth—there is an obvious answer. The revelation is a problem in another way, too: we haven’t been given enough information about the character who is the murderer to have any feelings about them, one way or the other; we can be neither shocked nor satisfied. The blandness of this character is obviously meant to be a counterpoint to the fact that they turn out to be a cold-blooded child-killer, but I can’t help feeling I’d have cared more if Flint had constructed an actual personality, had pushed us towards actually approving of the character instead of merely being indifferent.

And that goes for the novel as a whole, I think. It’s an admirable project and it fits right into the spirit of our times: to show how, within living memory, women who deviated from a narrow range of accepted normality were treated with breathtaking injustice and real evil was allowed to flourish. But as readers, we always know whose side we’re meant to be on, and it is always clear that the characters who denigrate Ruth are cruel and wrong. If Flint had complicated that—if she had, even for a moment, caused us to feel some of that disgust and rage at Ruth, and then to recognise our own complicity in a brutal system—this book would come much closer to challenging that system. As it is, it’s good, but it’s preaching to the choir.

The Baileys Women’s Prize for Fiction shortlist is announced on 3 April. For more commentary, see the rest of the Shadow Panel: Naomi, Antonia, Meera and Eric. Little Deaths is published by Picador, and is available in hardback.

Baileys Prize Longlist Reading 3: McBride

Being a series of short reviews of the Bailey’s Prize longlisted titles I hadn’t read before the announcement. These are mostly hack-jobs, consisting of extrapolations of my reading notes. Luckily I tend to make notes in full sentences. Spoilers ahead.

41no-ogymgl-_sy344_bo1204203200_The Lesser Bohemians, by Eimear McBride

The definitive characteristic of The Lesser Bohemians is its style. You cannot extricate anything about this book from the way in which it is told; as in the most elegant biological structures, form equals function. The story is basic: Eily, an eighteen-year-old drama student, fetches up in London from Ireland (which, in the 1990s, doesn’t seem to have been a fun place to grow up). Over the course of her first year in drama school, she will meet and fall in love with a man twenty years her senior. Gradually, she will come to learn his past—which is, to say the least, disturbing—and he will come to learn hers, which is likewise. The development of their relationship is the central interest of the book: McBride is not even as interested in whether they will stay together or not as she is in charting the ways that this relationship enables Eily’s meteoric journey towards emotional maturity.

This is especially pleasing because it means that a book which spends a good portion of its middle section detailing the personal struggle of a male character—Eily’s lover Stephen—ultimately refuses to grant that struggle primacy. We are interested in Stephen’s redemption, of course, but we’re mainly interested in it for the effect it has on Eily. It’s a nice inversion of tropes that usually have women suffering in order to develop a male character; McBride isn’t so crass a writer as to simply gender-flip the trope, but the shape we get is of a man’s personal hell being definitive for a woman’s emotional development, and not just because it traumatises her.

To get to the middle section, though, you have to get through the first ninety pages, and to get through those, you have to warm to the style. The phrase “stream of consciousness” generally makes me want to kick something (all articulation is artificial to an extent! You can’t write a stream of consciousness by definition! And usually what people mean by this phrase is just “unpunctuated”!), but McBride comes close: her narrative lens is a tight, first-person one, and Eily’s voice comes to us in fits and starts, sentence fragments, ungrammatical, present tense. It’s a much truer way of portraying the experience of thought and perception, for my money, than (to take one example) the unbroken monologue that Joyce gives Molly Bloom in Ulysses. It lays the book open to charges of preciousness, I suppose, but McBride manages here to be less overtly poetic than in her debut, A Girl Is a Half-Formed Thing, and so the voice doesn’t feel contrived. (It is also particularly well suited to a story about first love: the heart-pounding, the panic of jealousy, the grimness of the morning after a fight, all are rendered completely naturally in that slightly jerky present tense.) The test of a gimmick is whether it works, and this does. Once you realise that you’re not being narrated to, but instead are watching someone think, you know how to read it. (And we are very used to being narrated to, I admit. Having to do hard work as a contemporary reader, even as a reader of literary fiction, is fairly unusual.)

It does make me wonder where McBride will go next. To have written two novels in this style leaves her with a choice: write a third just like it, and become calcified in the public imagination as a one-trick pony in the style department, or write a third that differs from it wildly, and run the risk of disappointing the people who adore her work. Given the number of rejections her debut received, and how she persevered with it, though, I think she’s probably up to the challenge.

The remaining question is: would I shortlist this? The answer is that it depends heavily on how the rest of the longlist reading goes. I enjoyed it much more than I expected to, I think its stylistic choices work extremely well given the material, and I was hugely impressed by the way that McBride handles questions of love and trust: in the hands of a lesser writer this story could be 50-Shades-adjacent, but with McBride it isn’t; it is always about two people navigating the past inside the present, with varying degrees of success. But at the same time, for me, it lacks the visceral punch of Do Not Say We Have Nothing and The Power, and the gobsmacking ambition of The Sport of Kings, and the economical honesty of First Love (all on my tentative personal shortlist so far). The Lesser Bohemians might well make the grade if nothing else is better—which sounds like damning with faint praise, but believe me, whether it makes the personal (or the shadow panel’s) shortlist or not, it’s worth your time.

The Baileys Women’s Prize for Fiction shortlist is announced on 3 April. For more commentary, see the rest of the Shadow Panel: Naomi, Antonia, Meera and Eric. The Lesser Bohemians is published by Faber & Faber, and is available in hardback.

Baileys Prize Longlist Reading 2: Thien and Alderman

Being a series of short reviews of the Bailey’s Prize longlisted titles I hadn’t read before the announcement. These are mostly hack-jobs, consisting of extrapolations of my reading notes. Luckily I tend to make notes in full sentences. Spoilers ahead.

do-not-say-we-have-nothingDo Not Say We Have Nothing, by Madeleine Thien

Do Not Say We Have Nothing is comprised of nested narratives. Li-ling (or Marie), in ’90s Toronto Vancouver (thanks to eagle-eyed reader Shawn for catching that), is a maths-obsessed teenager whose father has disappeared back to China. They learn that he has committed suicide there, in Hong Kong. Later, a Chinese girl comes to stay with Marie and her mother. Her name is Ai-ming. She is only eighteen, and a political refugee, in trouble for having participated in the uprisings in Tiananmen Square. Her father, now dead, was Marie’s father’s former music teacher. Ai-ming begins telling Marie her family history, but these stories quickly take on a life of their own and the framing device drops out for chapters at a time, leaving us fully immersed in the lives of sisters Big Mother Knife and Swirl; then in the lives of their children, Sparrow and Zhuli, and of Sparrow’s student and best friend Kai.

The book spans seventy years in the middle of the twentieth century, during which time China underwent traumatic political and social change. From the time of the Civil War to the Cultural Revolution, this family is forced to adapt in ways that deny its members love, fulfillment, and security. Most of the book focuses on music: Sparrow is a promising composer, Zhuli a talented young violinist, Kai a pianist. All three of them attend Shanghai Conservatory. When the denouncements ramp up and the witch-hunts for counter-revolutionaries increase in the ’70s, the pressure to play only certain kinds of music, and in a certain style, becomes nearly unbearable, and the three young people bend or snap in different ways according to who they are.

Do Not Say We Have Nothing is the most intellectually sophisticated book of the longlistees that I’ve read, so far: the questions it poses and the assertions that it makes about the ideology of making art are subtly framed and yet don’t detract from the actual story. Thien faces the fact that music and art in general cannot save you— that “poetry makes nothing happen”—and yet when Zhuli thinks “It belongs to me”, she recognises that you can hold onto music or beauty, you can claim it, and its significance comes from the assertion you make of its value to yourself. The number zero is also significant: Marie, the current-day Chinese-Canadian mathematician, talks about how zero can represent a value of both everything and nothing. It’s not hard to see the links between the idea of zero and the value of creativity in a society that hates and fears it. To write a Western-influenced sonata or to play Bach like an angel is worth nothing in post-Cultural Revolution China. And yet it is also worth everything

SPOILERS DEAD AHEAD – Thien achieves this depth of thought, this endless wrestling with value and the ethics of making art, while maintaining the reader’s investment in her multiple characters and their fates. When Zhuli kills herself, we care terribly; when Sparrow, near the end of his life, begins to engage politically, we see how hard it is for him because he has survived awful loss only by cultivating indifference. And she doesn’t do it through simplistic structure, either: on the page, it looks simple—there are no chapter headings telling us what time we’re in, for instance—but it develops in complexity as it follows this enormous tree of extended family and friends. Thien ensures that we don’t lose sight of our main characters, and the development of the framing story into part of the actual narrative near the end of the book is seamless, which is a lot harder to do than it looks.

Do Not Say We Have Nothing is very affecting and deeply intelligent. So far, it is my favourite to win overall; I would be surprised if another longlisted book came near it, at least on its own terms.

41rubuzrhzlThe Power, by Naomi Alderman

One book that might challenge it—though with a very different flavour—is The Power. I am indebted to Abigail Nussbaum for helping me sort out my whirling, love-and-terror-addled thoughts on this book. Her review of it, at Strange Horizons, is really the place to go if you want someone intelligent and critically acute to open up The Power‘s complexities for you. Much of what I write here will be borrowed from that piece.

Everyone, by now, knows the premise of The Power: what if women and girls were suddenly capable of shooting bolts of electricity out of their bodies? As Nussbaum notes, this premise is the sort of thing that it’s easy to run away with in your own head, which sets you up to be disappointed by whatever the writer actually executes. Fortunately I went into The Power with little in the way of preconceptions (not because the premise didn’t excite me but because I hadn’t had the time to think about it much), and I was completely bowled over by it.

There are four strands to the book, four main point-of-view characters. Three of them are women. There’s Roxy, the child of a London crime boss who quickly takes over the business after what becomes known globally as the Day of the Girls; Allie, a fostered and abused girl who hears a “voice” that might be her own survival instinct or might really be the voice of God; Tunde, a Nigerian journalism student who gets the first footage of the Power being used in public, and drops out of college to follow the stories, broadcasting from YouTube; and Margot Cleary, a public servant whose response to the Power clears the way for her meteoric rise to the top of American government.

Critical responses to The Power have mostly been of the who’d-have-thought, women-can-be-just-as-violent-as-men school. It’s true, obviously, but as analysis goes it’s not very deep. Alderman is using gender as a focusing lens, but I don’t think this book is really about gender; if it were, there would be a lot more in the way of retributive justice, and what we get instead is a horrifying breakdown of the comforting cause-and-effect that justifies vigilantism. In the most brutal scene of the book, a gang of women attack a refugee camp full of men in the mountains of Moldova. Tunde, who survives—just—notes the complete absence of sense and logic: these women are not attacking men who’ve wronged them. They are torturing, raping (yes, really, and the way Alderman makes that work is terrifying and illuminating about the fundamental point of rape as an act of war: to humiliate) and killing because they can. And it’s that motive—because you can—that runs through the book. It’s not about gender; it’s about power.

Which makes Alderman’s project, and her book’s ending, a lot more fundamental. The question that The Power asks is: is it even possible for humans to create and exist in an egalitarian society? Or, as Nussbaum puts it in her review, “If you can completely upend the foundations of human civilization and yet end up at exactly the same place, then isn’t there a greater flaw at work? Is there another way, or do there always have to be winners and losers, strong and weak, powerful and powerless?”

There are flaws (fortunately I managed to notice these before reading Nussbaum’s review, though she discusses them more deeply.) One of the most curious omissions in The Power is any discussion of transgender individuals. The electrostatic power in women is biological; it comes from an organ at the base of the throat called the skein. A very, very small number of biological males develop it, too, but they’re seen as freaks and outcasts. Does that mean that most trans women don’t have it? What about trans men? What does that do to their status in society? Racial difference, too, is erased or ignored. From a writer’s point of view, I can see why—there are only so many stories you can tell at one time—but it’s odd, given the book’s fascination with the arbitrary exercise of power, not to include the effects that the Power might have on other forms of societal oppression.

Regardless. The Power is nightmarish and profound and one of the ballsiest books I have read in years. This must be what is meant by “the best of women’s writing”; if it’s not this, this deep engagement with the terms of human civilisation’s very existence, what is it? If it were up to me, I would put it on the shortlist without hesitation.

The Baileys Women’s Prize for Fiction shortlist is announced on 3 April. For more commentary, see the rest of the Shadow Panel: Naomi, Antonia, Meera and Eric. Do Not Say We Have Nothing is published by Granta and is now in paperback; The Power is published by Viking and is available in hardback.