Quite a lot going on in September, all of it good—more writing, more walking, more singing, more seeing dear friends whom I don’t see often enough. Work is very busy, and I have two new colleagues to help me in the bookshop, and I have just started working on our bespoke subscription service, with new clients of my own. Not many reviews this month, but 17 books read, and a sense that, going into winter, I may just preserve my sanity. An unexpected gift, that: I don’t fare well in the dark season.
most uneven: Mark Twain’s travelogue Roughing It, which is partly set in Nevada, Utah and California Territories (where he originally went to accompany his brother, who was appointed to a government position in Nevada), and partly in Hawaii. Twain is amusing as ever (if a little distressingly casual) on Mormon society and the surreal bubble of Western gold prospecting, but he’s also breathtakingly racist about Chinese labourers in California Territory, and things don’t improve when he meets native Hawaiians. Worth reading, but hardly essential.
most incendiary: Home Fire by Kamila Shamsie, longlisted for the Booker Prize, which retells Sophocles’s Antigone with a British Muslim family front and center. Dutiful daughter Isma, bold and beautiful Aneeka, and radicalised, immature Parvaiz play out a story that feels inevitable, but ought to be read by everyone interested in current debates about the West’s role in creating a new generation of terrorists. (review)
best fun: K.J. Whittaker’s False Lights, the tagline of which is the intriguing “What if Napoleon had won the Battle of Waterloo?” Featuring Cornish separatist rebels, Napoleon’s brother Jerome on the English throne, and a mixed-race heroine (not to mention another particularly wonderful depiction of a working-class woman whose capacity for military strategy wins her the Duke of Wellington’s respect), it’s like a glorious mashup of Frenchman’s Creek and Jonathan Strange and Mr. Norrell (but without the magic.)
most stylish: My Cat Yugoslavia, the debut novel from Pajtim Statovci. Examining the psychic fallout from the war in Kosovo through the eyes of Bekim, a Kosovan Muslim resettled in Finland as a child, it’s an elegant, if sometimes slightly self-conscious, treatment of the lingering traumas of conflict. (review)
best atmosphere: That of immediately post-war London in Patrick McGrath’s The Wardrobe Mistress. It’s set in the notoriously cold winter of 1947, and follows Joan Grice, who runs the wardrobe department at the Beaumont Theatre, as she mourns the death of her famous actor husband, known to all as Gricey. The revelation that Gricey had a secret life—one that was almost diametrically opposed to his domestic life with her—drives Joan to the brink of madness. McGrath writes with beautiful restraint and finely calculated tension; it’s a masterpiece.
sheerest delight (and most inspirational protagonist): Like A Mule Bringing Ice Cream To the Sun, by Sarah Ladipo Manyika. This is not exactly news to anyone who reads Naomi’s blog, but good Lord is this novella ever charming, cheering, and a bit of a kick up the ass. Dr. Morayo da Silva, Manyika’s protagonist, is in her eighties and still lively, sharp, and sexy. (A young chef, seeing her dancing, gets a little hot under the collar, despite knowing she’s his grandmother’s age.) Manyika doesn’t ignore the painful elements of aging, but she has also written the only elderly female protagonist I’ve ever read whom I wouldn’t actually mind becoming. What a gem.
most addictive: Munich, Robert Harris’s new book. I had never read a single Harris book until July, when I finally bought the paperback of Conclave because I was going to be on a train and what if I happened to finish the book I already had in my bag OH NOES. It turned out to be great, and Munich is even better. While sticking to the historical record of what happened in 1938 when Chamberlain and Hitler met and signed the Munich Agreement, Harris also gives us the perspective of two men—one in the British government, one in the German—who try to persuade Chamberlain of the real danger. Harris succeeds as no other novelist has in conveying Britain’s desperation not to start another war, and somehow, knowing from the start how it will end doesn’t diminish the tension.
best surprise: This year’s Booker Prize dark horse, Elmet, by Fiona Mozley. Initially this seemed rather Cormac McCarthy Does Yorkshire, but in the end it’s much more than that: a siren song of violence and independence and rage. There are shades of Winter’s Bone and My Absolute Darling and the queasy individualism of Paul Kingsnorth’s novels in the story of bare-knuckle fighter John and his children, gentle Daniel and hard-as-nails Cathy. It’ll be interesting to see what Mozley does next.
biggest disappointment: Dunbar, Edward St. Aubyn’s reimagining of King Lear for Hogarth’s Shakespeare project. In this case, the failing is partly that of the utterly mediocre prose, but mostly due to a lack of moral scope: Dunbar isn’t a tragic figure because he isn’t an Everyman. (Neither is a king, you might say, to which I would reply that Lear is humanised through his madness, and also—crucially—through subtle choices made by every actor who plays him. Dunbar, meanwhile, is simply an aggressive and deeply unpleasant media mogul who’s suffered a drug-induced psychotic break: a bizarre choice on St Aubyn’s part that utterly removes his protagonist from our sympathy.) I may write a full review of this, if my brain ever stops feeling like a wrung-out dishtowel every evening after work.
best short story collection: And only short story collection, but it’s difficult to phrase what I want to say about 2084, edited by George Sandison, which is that it’s an almost flawless assembly of stories, all explicitly set in the eponymous year as part of a project conceived as a response to George Orwell’s Nineteen Eighty-Four. From the ultimate assimilationist technique among refugees to haute couture-induced lunacy, from drowning cities to a bonkers future youth dialect that draws on Doge memes (“Such approach! Very arriving!”), these stories are never less than fully committed to their visions of the future, and the writing is never less than sterling. It’s a phenomenal achievement.
most thought-provoking: The Book of Phoenix by Nnedi Okorafor, an Afrofuturist novel(-la?) about genetically modified speciMen (the book’s word). I liked it okay, but not more than that, and the reason that’s thought-provoking is because my lukewarm response had a lot to do with the rhythms of the prose. Okorafor’s sentences are shaped in a way that clearly owes much to African and oral storytelling beats, and I find that hard to deal with in written work. The fact that The Book of Phoenix has revealed this prejudice means, of course, that it’s done its job.
most LUSH: John Banville’s new novel and sort-of sequel to The Portrait of a Lady, Mrs. Osmond. It follows Isabel Osmond, née Archer, as she tries to free herself from the horrendous, controlling marriage to which Henry James condemns her. As a technical achievement it’s stunning; attempts to mimic late-C19 prose often end badly, reading as parody or pastiche, but Banville’s control and intelligence means that he manages precisely to ventriloquise a Jamesian style (albeit a slightly less thicket-y one). I’ve never seen anything like it.
most quietly devastating: The Noise of Time, Julian Barnes’s fictionalisation of the life of Dmitri Shostakovich. It would read well in conjunction with Do Not Say We Have Nothing; Barnes is more interested in his ideas than his plot, whereas Madeleine Thien manages to integrate the two, but Barnes has equally interesting things to say about how artists (specifically musicians) survive under tyranny, and the intellectual compromises that survival requires.
most surreal: I’ll Sell You a Dog, by Juan Pablo Villalobos. Set in Mexico City and narrated by foul-mouthed, cheekily lecherous pensioner Teo, it covers mid-century Mexican art, Marxism, young love, disappointment, intellectual pretension (embodied by his apartment complex’s reading group, who pay a young boy to ferry their copies of Proust around in wheelbarrows), and tacos. I read it in a day and walked around feeling a bit cross-eyed for a while afterwards.
warm bath book: Every month must have one, apparently. It’s often a reread. This month there were two: one was Lirael by Garth Nix, which was about 99p on the Kindle store, so I bought it and read it on my phone. I’ve loved Nix’s Old Kingdom series from childhood, and I especially love Lirael because, for the book’s first half, its painfully shy heroine works in an enormous magical library. Swoon.
The other was Alanna: the Song of the Lioness, which is part of the new Puffin Originals series of “classic” YA. It’s actually the first two books in Tamora Pierce’s Alanna quartet, bundled together. The story of a girl who wants to be a knight in the fantasy realm of Tortall, and disguises herself as a boy for eight years to do it, is also a childhood favourite. As an adult, it’s easier to see where Pierce relies on heroic exceptionalism and a wide-eyed “who, me?” attitude in her heroine, but they’re still great stories.
most defiant of genre convention: Jane Harris’s third book, Sugar Money, which is out this week, tells the story of two Martiniquais brothers, slaves to the French priests who run the island’s hospital. They are charged with returning to Grenada and “stealing back” the forty-two slaves left there when the French were defeated by the English several years ago. Harris doesn’t saturate readers with baroque depictions of violence, as, say, Marlon James or Colson Whitehead do (though there is some); her time period is about a hundred years earlier, and what she conveys best is the way that coming to adulthood, as a slave, means a psychological reckoning with your own powerlessness.
up next: In general life, October holds a trip to Liverpool to sing at the cathedral there, a trip to Canterbury for my cousin’s hen weekend, and my housemate’s book launch. (He’s an academic and has just done a book on Bloomsbury’s cultural effect on the rest of London. Buy it!) In reading, I’m about to finish The Spy Who Came In From the Cold, and I’ve got a million proofs from work, and I went book shopping over the weekend because I guess I’m some kind of masochist, and…you know, I’m definitely set.